Analog Lab Manual 1 1 En

8/10/2019 Analog Lab Manual 1 1 En

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1 INTRODUCTION ........................................................................................................................................ 6

1.1 HISTORY ........................................................... ................................................................ ....................... 6

1.2 HERE AND NOW ........................................................... ................................................................ ............ 7

1.3

TAE®

...................................................................................................................................................... 7 1.3.1 Aliasing-free oscillators ............................................................ ...................................................... 7

1.3.2

A better reproduction of analog oscillator waveforms ................................................................ ... 8

1.3.3 Direct Filter Circuit Modeling.................................................................................................... .... 9

2 INSTALLATION .............................................................. ................................................................ .......... 11

2.1 SYSTEM REQUIREMENTS ......................................................... ............................................................... 11

2.1.1 REQUIRED MINIMUM CONFIGURATION: ......................................................... ..................... 11

2.1.2 PLATFORM SPECIFICATIONS: ....................................................................................... .......... 11

2.2 WINDOWS INSTALLATION (7/8) ........................................................................................ ..................... 11

2.3 MAC OS X INSTALLATION ................................................................ ..................................................... 13

3 AUTHORIZATION ................................................................................................................................... 14

3.1

R EGISTRATION ...................................................................................................................................... 14 3.1.1

Log in or create a new user account ............................................................. ................................ 15

3.1.2 If all else fails… ............................................................. ............................................................... 18

3.2 E NTERING ACTIVATION CODE INTO ELICENSER ..................................................................................... 19

4 ANALOG LAB QUICK START ........................................................... .................................................... 22

4.1 AUDIO & MIDI SETUP ............................................................ ............................................................... 22

4.1.1 Audio setup ......................................................... ................................................................ .......... 22

4.1.2 MIDI setup .......................................................... ................................................................ .......... 23

4.2 SOUND MODE QUICK START .................................................................................................... ............. 23

4.2.1 Select a preset .......................................................................................................... ..................... 23

4.2.2 Filtering and sorting the Preset list .................................................................................... .......... 24

4.2.3 Modify a preset .............................................................. ............................................................... 27

4.2.4

Saving a User preset ................................................................................................ ..................... 28

4.3 WINDOW MANAGEMENT ......................................................... ............................................................... 29

4.3.1 Click and resize .............................................................. ............................................................... 29

4.3.2

Scroll bars ........................................................... ................................................................ .......... 29

4.4 TAKING A S NAPSHOT .............................................................. ............................................................... 30

4.5 MULTI MODE QUICK START .............................................................. .................................................... 32

4.5.1 Select a Multi preset ..................................................................................................................... 32

4.5.2 Changing a Sound within a Multi ................................................................................................. 33

4.5.3 Saving an edited Multi as a User program .............................................................. ..................... 34

4.5.4 Start a Multi from Scratch ............................................ .............................................................. .. 34

4.6 LIVE MODE QUICK START ................................................................ ..................................................... 35

5 USING ANALOG LAB .............................................................................................. ................................ 36

5.1

CONFIGURATION ................................................................................................................................... 36

5.1.1 General options ............................................................................................................................ 36

5.1.2 Arturia Plug-ins ............................................................. ............................................................... 37

5.1.3 Audio & MIDI Settings ............................................................. .................................................... 37

5.2 TOOL BAR ............................................................................................................................................. 39

5.3 VIRTUAL KEYBOARD ................................................................................................................... .......... 40

5.3.1 Virtual keyboard options .............................................................................................................. 40

5.3.2 Virtual keyboards: Common controls and features ...................................................................... 41

5.3.2.1 Master Volume ...................... ...................... ...................... ...................... ...................... ..................... ....... 41

5.3.2.2 Pitchbend and Modulation wheels / touch strips ..................................... ...................... ...................... ...... 41

5.3.2.3 Snapshots tab ............................................................................................................................................ 41

5.3.2.4 Pads tab ..................................................................................................................................................... 42

5.3.2.5 5-octave keyboard ..................................................................................................................................... 42

5.3.3

Virtual keyboards: To each its own control section ............................................................ .......... 43 5.3.4 Assignable MIDI control of parameters ....................................................................................... 44



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5.3.5

Exporting/Importing the MIDI Configuration (*.lab2midi) ......................................................... 45

5.4 SOUND MODE .............................................................. ................................................................ .......... 46

5.4.1 Instruments .............................................................................................................. ..................... 47

5.4.2

Sound Types ........................................................ ................................................................ .......... 48

5.4.3 Sound Characteristics ............................................................... .................................................... 49

5.4.4 Additional Filters ........................................................... ............................................................... 49

5.4.5

Preset details ................................................................................................................................ 50 5.4.6 Editing a preset .............................................................. ............................................................... 50

5.4.7 Organization ....................................................... ................................................................ .......... 52

5.5 MULTI MODE ........................................................................................................................................ 52

5.5.1

Multi Mode: an introduction ................................................................ ......................................... 53

5.5.2 Sorting the Multis ......................................................................................................................... 54

5.5.3 Selecting a Multi ................................................................................................................. .......... 54

5.5.4 Multi mode: Preset details ................................................................. ........................................... 55

5.5.5 Parameter control assignments per Part ...................................................................................... 55

5.5.6 Editing a Sound Preset within Multi mode .............................................................. ..................... 56

5.5.7

Editing a Multi ............................................................... ............................................................... 56

5.5.7.1 Changing the Sound assigned to the Part ........................................ ...................... ...................... .............. 56

5.5.7.2 Part parameters: Level, Pan and FX .......................................................................................................... 56

5.5.7.3

Part parameters: MIDI and Split ............................................................................................................... 57

5.5.7.4

Multi parameters: FX Sends A and – B...................................................................................................... 58

5.5.7.5 Multi parameters: Control Assign ............................................................................................................. 58

5.5.7.6 Multi Parameters: FX Returns A and – B .................................................................................................. 59

5.5.7.7 Global parameter: Master Volume ...................... ..................... ...................... ...................... ..................... 59

5.5.8 Saving your edited Multi ........................................................... .................................................... 59

5.5.8.1 Name .................... ..................... ...................... ...................... ..................... ...................... ...................... ... 60

5.5.8.2 Genre ......................................................................................................................................................... 60

5.5.8.3 Creator ...................................................................................................................................................... 60

5.5.8.4 Save sounds ..................... ..................... ...................... ..................... ...................... ..................... ............... 61

5.6.1 Start a Multi from Scratch ............................................ .............................................................. .. 61

5.6.2 MIDI control of Multi mode parameters............................................ ........................................... 61

5.7 LIVE MODE ............................................................................................................................................ 62

5.7.1 Selecting a Preset for the Program Map ...................................................................................... 62

5.7.2

The Preset / Song Details window .......................................... ...................................................... 64 5.7.2.1 Sound details ............................................................................................................................................. 64

5.7.2.2 Multi details .............................................................................................................................................. 64

5.7.3 Managing the Live Map [new in Analog Lab 1.1] .............................................................. .......... 64

5.7.3.1 Clearing the Live Map .............................................................................................................................. 64

5.7.3.2 Importing and exporting the LiveMap ..................................... ...................... ...................... ..................... 65

5.7.4 Standard list of presets and MIDI Program Change [new in Analog Lab 1.1] ............................ 65

6 ARTURIA ANALOG LAB – LEGAL INFORMATION ....................................................................... 66

6.1 SOFTWARE LICENSE AGREEMENT .................................................................................... ..................... 66

6.2 NO LIABILITY FOR CONSEQUENTIAL DAMAGES ................................................................. ..................... 70

6.3 FCC I NFORMATION (USA) ................................................................ .................................................... 70

6.4 CANADA ........................................................... ................................................................ ..................... 70

6.5

EUROPE ................................................................................................................................................. 71



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Linear frequency spectrum of the Analog Lab oscillator made with TAE ®

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Temporal representation of the “sawtooth” waveform of a hardware synthesizer



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Temporal representation of a “sawtooth” waveform reproduced by TAE ®

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(5, .$ &79&-3,' )- 3$%B5.,1 B1$3,'')-+ B$E,1X 6-&*$+ <&0 3&- -$E ,%B*$M 7)1,3. \)*.,1%$7,*)-+ .,3#-)45,' .$ &3#),9, 5-B1,3,7,-.,7 &3351&3M )- .#, ,%5*&.)$- $\ & #&17E&1,synthesizer’s filter. By modeling the opera.)$- $\ .#, )-7)9)75&* #&17E&1, 3$%B$-,-.' $\.#, \)*.,1 3)135).X .#, E&1% -5&-3,' 'M-$-M%$5' E).# &-&*$+ '$5-7' &1, 1,31,&.,7W

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But you’ll notice there are two lines on the graph: Those are the superimposed frequency

7$%&)- B*$.' \$1 0$.# $-, $\ 61.51)&g' 9)1.5&* )-'.15%,-.' &-7 .#, #&17E&1, \)*.,1 0,)-+,%5*&.,7W "#,M &1, B1&3.)3&**M )-7)'.)-+5)'#&0*,X 0$.# $- .#, +1&B# &-7 .$ .#, #5%&-,&1W "#, 7)1,3. 1,31,&.)$- $\ .#)' &-&*$+ 3)135).1M 3&5',' .#, '&%, 3#&1&3.,1)'.)3' $\ .#,'$5-7 .$ 0, B1,',-.X .#5' +)9)-+ .#, 5',1 & .15*M &-&*$+ '$5-7W



Q[ '$+!$,' – '-./01 ).2 – USER’S MANUAL

Comparison of harmonics generated by the filter circuits in self oscillation

of Analog Lab and a hardware synthesizer



'$+!$,' – '-./01 ).2 – USER’S MANUAL QQ

* ,("+'))'+,4(

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($E-*$&7 .#, )-'.&**,1 \)*, &-7 7$50*,U3*)3@ $- .#, )3$- -&%,7 !"#$%&'(#)*+,+W

"#, \)1'. '.,B $\ .#, B1$3,'' 1,45)1,' M$5 .$ 1,&7 &-7 &33,B. .#, .,1%' $\ .#, <)3,-',6+1,,%,-.X &\.,1 E#)3# M$5 E)** 3#$$', .#, 7,'.)-&.)$- \$*7,1 \$1 .#, 6-&*$+ <&0)-'.&**&.)$-W 2M 7,\&5*.X ). E)** 0, )-'.&**,7 )- .#)' *$3&.)$-Z

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c$5 3&- ',*,3. & 7)\\,1,-. 7,'.)-&.)$- E).# .#, 21$E', 05..$-W

Choose the installation folder



Q* '$+!$,' – '-./01 ).2 – USER’S MANUAL

`- .#, -,a. '31,,- M$5 E)** 0, &'@,7 .$ 3#$$', & ',. $\ )-'.&**&.)$- \$*7,1' \$1 .#, YJU0).&-7 KVU0). 9,1')$-' $\ .#, 6-&*$+ <&0 DF" B*5+U)-W "#, 7,\&5*. \$*7,1' &1, .#, $-,' %$'.*)@,*M .$ 0, 5',7 0M $.#,1 B*5+U)-'X 05. M$5 %&M 7,\)-, $.#,1 *$3&.)$-' )\ M$5 *)@,W

Choose the locations of the VST plug-in installation folders

6-&*$+ <&0 )' )-'.&**,7 &' & '.&-7&*$-, &BB*)3&.)$- 0M 7,\&5*.f .#, \$**$E)-+ '.,B *,.' M$53#$$', E#,.#,1 .$ )-'.&** ). &' & B*5+U)- &' E,**W "$ 7$ '$X 3*)3@ .#, 0$a,' -,a. .$ .#,B1$.$3$*='> M$5 E)'# .$ 5', =DF"JWVX DF"YX /"6F &-7[$1 66i>W ?$E,9,1X .$ ,-'51, .#,+1,&.,'. 7,+1,, $\ 3$%B&.)0)*).M E, 1,3$%%,-7 ',*,3.)-+ &** .#1,, )-'.&**&.)$- $B.)$-'W

Choose the installation components



'$+!$,' – '-./01 ).2 – USER’S MANUAL Q;

"#, )-'.&**&.)$- B1$+1&% -$E #&' ,-$5+# )-\$1%&.)$- .$ 3$%B*,., .#, )-'.&**&.)$-W I#,-.#, )-'.&**&.)$- B1$3,'' )' 3$%B*,.,X B1$3,,7 .$ .#, &5.#$1)^&.)$- '.,B =8#&B.,1 Y>W

*R; &.B 4" a D-CE.//.ED0-

($E-*$&7 .#, )-'.&**,1 \)*, &-7 .#,- 7$50*,U3*)3@ $- .#, )3$- -&%,7 !"#$%&'(#)*=2&W

N$**$E .#,', '.,B'Z

/,&7 &-7 &33,B. .#, P-7 O',1 <)3,-', 6+1,,%,-.

F,*,3. & 7,'.)-&.)$-W

I#,- B1$%B.,7X ,-.,1 .#, &7%)-)'.1&.$1 -&%, &-7 B&''E$17 $\ M$51 3$%B5.,1 )- .#,R-'.&**,1 E)-7$EW

Installer window

6-&*$+ <&0 E)** 0, )-'.&**,7 &5.$%&.)3&**M &' & '.&-7&*$-, &BB*)3&.)$- &-7 &*'$ &' DF"JXDF"YX 6OX /"6F &-7 66i B*5+U)-'W

I#,- .#, )-'.&**&.)$- B1$3,'' )' 3$%B*,.,X B1$3,,7 .$ .#, &5.#$1)^&.)$- '.,B =8#&B.,1 Y>W



QN '$+!$,' – '-./01 ).2 – USER’S MANUAL

; '!+K4$,b'+,4(

;$E .#&. 6-&*$+ <&0 #&' 0,,- )-'.&**,7 M$5 E)** -,,7 .$ &5.#$1)^, .#, '$\.E&1,W

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

;RQ $:[email protected]

The first time you launch Analog Lab our ‘Activation Wizard’ will open:



'$+!$,' – '-./01 ).2 – USER’S MANUAL QO

Click the ‘Authorize’ button to proceed. The screen that follows 3$-.&)-' & *)-@ .$ .#,61.51)& E,0 ').,X E#,1, M$5 #&9, .#, $B.)$- .$ ')+- )-.$ M$51 ,a)'.)-+ 61.51)& &33$5-. $131,&., & -,E $-,W

"#)' -,a. E)-7$E E)** '.&M $B,- E#)*, M$5 +$ .#1$5+# .#, 1,+)'.1&.)$- '.,B' $-*)-,f $-3,you’ve done that you’ll use it to pr$3,,7 .#1$5+# .#, &3.)9&.)$- '.,B' .#&. \$**$EW

;RQRQ )01 D- 0@ B@:.E: . -:T >C:@ .BB0>-E

R\ M$5 ./@:.89 <.X: &- 61.51)& &33$5-. ',.5BX ')%B*M *$+ )-Z



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL QS

R\ M$5 B513#&',7 6-&*$+ <&0 $-*)-,X M$5 E)** 1,3,)9, .#, ',1)&* -5%0,1 &-7 &-5-*$3@ 3$7, )- &- ,%&)* 3$-\)1%&.)$-

R\ M$5 B513#&',7 & 3$-.1$**,1 @,M0$&17 '53# &' :)-)<&0 $1 '$%, $.#,1 61.51)&3$-.1$**,1 .#&. 3&%, 05-7*,7 E).# 6-&*$+ <&0X M$5 E)** \)-7 .#, ',1)&* -5%0,1 &-7&- 5-*$3@ 3$7, $- & '.)3@,1 )-')7, .#, j5)3@ F.&1. h5)7, .#&. '#)B' E).# .#,

3$-.1$**,1W R. *$$@' *)@, .#)'Z

I#,- M$5 ',, .#, B&+, B)3.51,7 0,*$EX select “6-&*$+ <&0” $1 .#, &BB1$B1)&., 61.51)&3$-.1$**,1 \1$% .#, B5**U7$E- %,-5X ,-.,1 .#, ',1)&* -5%0,1 &-7 5-*$3@ 3$7, )- .#,appropriate spots, and click ‘Submit’ Z

c$5 '#$5*7 ',, .#, \$**$E)-+ 3$-\)1%&.)$- '31,,-W R\ .#, )-\$1%&.)$- )' 3$11,3.X 3*)3@ ‘F50%).’ againZ

6\.,1 .#)' M$5 E)** 0, '#$E- & '31,,- \1$% E#)3# M$5 3&- 3$BM .#, :)DB:-C:@ .BEDX.ED0-B08:W R. E)** 0, ',-. .$ M$5 0M ,%&)* &' & 0&3@5BX .$$W

Now let’s return to that Activation wizard window and click ‘Next’.

"#$%&' ($)

"#$%&' ($)



QW '$+!$,' – '-./01 ).2 – USER’S MANUAL

"#, .#)17 &-7 \)-&* E)-7$E $\ .#, 63.)9&.)$- E)^&17 E)** &BB,&1X &-7 .#)' )' E#,1, M$5 E)**,-.,1 .#, &3.)9&.)$- 3$7,W

8$BM &-7 B&'., .#, &3.)9&.)$- 3$7, )-.$ .#, 'B&3, B1$9)7,7 &-7 3*)3@ N)-)'#W "#, '$\.E&1,#&' -$E 0,,- &5.#$1)^,7 $- M$51 3$%B5.,1W

;RQR*

If all else fails…

R\ .#, B1$3,'' 7,'31)0,7 )- .#, B1,9)$5' ',3.)$- \&)*' \$1 '$%, 1,&'$-X &- ,11$1 %,''&+,E)** 0, 7)'B*&M,7 &-7 .#, ,<)3,-',1 8$-.rol Center should open automatically. You’ll be

&0*, .$ ,-.,1 .#, &3.)9&.)$- 3$7, 0M \$**$E)-+ .#, %,.#$7 7,'31)0,7 )- .#, -,a. ',3.)$-W



*[ '$+!$,' – '-./01 ).2 – USER’S MANUAL

Enter the activation code

"#, ,<)3,-',1 8$-.1$* 8,-.,1 )' -$E 1,&7M .$ 7$E-*$&7 .#, '$\.E&1, *)3,-', .#&. E)**&**$E M$5 .$ 5', Analog Lab. Click “Continue” &-7 .#, B1$+1,'' 0&1 '#$5*7 &79&-3, 5-.)*.#, 7$E-*$&7 )' 3$%B*,.,W `-3, .#, B$B5B E)-7$E #&' 3$-\)1%,7 3$%B*,.)$- $\ .#,7$E-*$&7, click “Close”.

R+ ( ABCD,801,)*,' 2('>=(', >%)7/, 0* +%.)> 1%)),1&,> &% -%.' 1%34.&,'5 &2, F,)&,' =0// +(:%' 0& (* &2,>,+(./& >,*&0)(&0%) +%' &2, /01,)*, >%=)/%(>G

;$E .#, %&)- ,<)3,-',1 8$-.1$* 8,-.,1 E)-7$E '#$5*7 '#$E M$51 6-&*$+ <&0 *)3,-',)-'.&**,7 &-7 &3.)9&.,7Z

'-./01 ).2



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL *Q

License is installed and activated

It’s now time to launch the 6-&*$+ <&0 &BB*)3&.)$-W



** '$+!$,' – '-./01 ).2 – USER’S MANUAL

N '(')45 )'I ]!,Gc "+'$+

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NRQ '>8D0 d &,7, ":E>A

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NRQRQ '>8D0 C:E>A

R- $17,1 .$ 3#,3@ .#, &57)$ 71)9,1 ',..)-+' \$1 6-&*$+ <&0X $B,- .#, G1,\,1,-3,' E)-7$E0M B1,'')-+ l8$%%&-7m n lXm $- .#, :&3 @,M0$&17 $1 0M ',*,3.)-+ ). \1$% .#, 6-&*$+<&0 71$BU7$E- %,-5 =`F i &-7 I)-7$E'>W

The Preferences menu item on Mac OS X … …and on Windows

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'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL *;

Audio and MIDI Settings window

NRQR* &,7, C:E>A

c$51 ,aB,1),-3, E).# 6-&*$+ <&0 E)** 0, ',1)$5'*M ,-#&-3,7 .#1$5+# .#, 5', $\ &-,a.,1-&* :R(R @,M0$&17 such as Arturia’s MiniLabW 6' &- &77,7 0$-5'X )\ M$51 :R(R@,M0$&17 )' $-, $\ $51'X 6-&*$+ <&0 E)** 7,.,3. E#)3# %$7,* ). )' &-7 &5.$%&.)3&**Mconfigure its main screen with a virtual keyboard that matches the one you’re using.

S%&,? T%' &2, 4.'4%*, %+ &20* 3().(/ =, =0// (**.3, -%. (', .*0)7 &2, >,+(./& :0'&.(/J,-9%('> 0)&,'+(1, +%' 6)(/%7 8(9G R+ -%. (', .*0)7 () ,U&,')(/ 1%)&'%//,' 4/,(*, ',+,' &%

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NR* "0>-8 &08: ]>DB= "E.@E

NR*RQ ":/:BE . A@:C:E

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N)1'.X 3*)3@ $- the “Sound” .&0 )- .#, .$BU*,\. 3$1-,1 $\ .#, %&)- E)-7$E .$ 'E).3# )-.$F$5-7 %$7,W

Sound mode tab



*N '$+!$,' – '-./01 ).2 – USER’S MANUAL

"#)' 3&**' 5B .#, F$5-7 %$7, G1,',. :&-&+,1 &-7 7)'B*&M' & *)'. $\ &** &9&)*&0*, B1,',.'WN1$% .#)' E)-7$E M$5 &1, &0*, .$ ',*,3. ')-+*, B1,',.' &-7 B*&M .#,% \1$% .#, 9)1.5&*:R(R @,M0$&17 $1 0M E&M $\ &- ,a.,1-&* :R(R '$513,W

The Sound mode Preset list

8*)3@ $- .#, -&%, $\ & B1,',. .$ ',*,3. ).W 6' '#$E- &0$9,X ). E)** 0,3$%, #)+#*)+#.,7 )-0*5, .$ )-7)3&., E#)3# B1,',. )' .#, 3511,-. ',*,3.)$-W

NR*R* HD/E:@D-1 .-8 C0@ED-1 E<: 3@:C:E /DCE

6-&*$+ <&0 $\\,1' *$.' $\ '$1.)-+ &-7 \)*.,1)-+ $B.)$-' .#&. &1, 9,1M #&-7M E#,- M$5 &1,*$$@)-+ \$1 & 'B,3)\)3 .MB, $\ '$5-7. To access them, click the ‘Filter View’ button in the5BB,1U1)+#. 3$1-,1 $\ .#, F.57)$ 9),EZ

$2, T0/&,' P0,= 9.&&%)

"#)' E)** 1,9,&* .#, (&.& N)*.,1' E)-7$EX E#)3# *$$@' *)@, .#)'Z

The Data Filter options in Sound mode



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL *O

S%&,? V,4,)>0)7 %) &2, *0W, %+ -%.' 3%)0&%' -%. 3(- ),,> &% 1/01J &2, XYZC 9.&&%) (&&2, &%4 %+ &2, (44/01(&0%) =0)>%= &% 2,/4 -%. *,, (// &2, +0/&,'0)7 %4&0%)*G

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"MB, =2&''X <,&7X G&7X F,45,-3,X ,.3W>

R-'.15%,-. =.#, 'M-.#,')^,1 $- E#)3# .#, B1,',. E&' 7,9,*$B,7>

8#&1&3.,1)'.)3' =6++1,'')9,X 6%0),-.X N5-@MX F$5-7.1&3@X ,.3W>

N&9$1)., =N&9W 8$*5%- )- .#, '$5-7 *)'.> &-7 O',1 =G1,',.' B1$9)7,7 0M 61.51)& &1,\&3.$1M E#)*, B1,',.' 31,&.,7 0M 5',1' &1, %&1@,7 &' 5',1>

c$5 3&- .#,- '$1. .#, 1,'5*.' 0M 3$*5%- &33$17)-+ .$ $-, $\ .#,', 3*&'')\)3&.)$-'Z

G1,',. ;&%, =&*B#&0,.)3&* $17,1>

"MB, =2&''X <,&7X G&7X F,45,-3,X ,.3W>

R-'.15%,-. =.#, 'M-.#,')^,1 $- E#)3# .#, B1,',. E&' 7,9,*$B,7> N&9$1)., B1$+1&%'

…and other criteria such as /&.)-+X F$5-7 (,')+-,1X &-7 N&3.$1M 9'W O',1W F)%B*M 3*)3@$- .#, 7,')1,7 3$*5%- #,&7)-+ .$ 3#$$', .#, B1)%&1M '$1. $17,1W

Select a column heading to specify the sorting criteria

Let’s work through an example. Maybe M$5g1, *$$@)-+ \$1 & 21&'' '$5-7Z c$5 3&- '.&1.by clicking “21&''” in the “Type'” filterf .#, 0$a -,a. .$ 21&'' E)** .51- E#)., .$ '#$E.#&. .#)' \)*.,1 )' &3.)9,W

Brass has been selected in the Types filter

6' '$$- &' & \)*.,1 ',*,3.)$- )' %&7, .#, G1,',. *)'. $- .#, *,\. E)** 3#&-+, .$ 7)'B*&M $-*MB1,',.' $\ .#, ',*,3.,7 .MB, =)- .#)' 3&',X 21&''>W

F)%)*&1*MX )\ M$5 E&-. .$ ',*,3. $-*M 21&'' '$5-7' %&7, 0M :$75*&1 DX \$1 ,a&%B*,X 3*)3@.#, 3$11,'B$-7)-+ 0$a )- .#, R-'.15%,-.' \)*.,1 3$*5%-W `-3, &+&)- .#, G1,',. *)'. E)**3#&-+,X '#$E)-+ $-*M B1,',.' .#&. &+1,, E).# .#, \)*.,1 3#$)3,' M$5 #&9, %&7,W



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL *S

R\ M$5 #&9, &- ,9,- %$1, 'B,3)\)3 )7,& $\ .#, '$5-7 M$5 &1, *$$@)-+ \$1 M$5 3&- &77&77).)$-&* \)*.,1 31).,1)& 5')-+ $-, $\ .#, 8#&1&3.,1)'.)3' \)*.,1'. If you click on the “21)+#.”0$aX \$1 ,a&%B*,X .#, G1,',. *)'. E)** -$E 7)'B*&M $-*M 01)+#.U'$5-7)-+ 21&'' B1,',.' .#&.E,1, %&7, 5')-+ :$75*&1 D. As you can see, “`3.21&''” )' '.)** 3$-.&)-,7 )- .#, *)'.0,3&5', ). #&' & 3#&1&3.,1)'.)3&**M 01)+#. .$-,W

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Note: When you switch presets you’ll notice that the assignments of some of &2, 1%)&'%/*3(- 12()7,E &20* 0* >., &% ( ).39,' %+ +(1&%'* *.12 (* &2, 4('(3,&,' )(3,* %) &2,%'070)(/ *-)&2,*0W,'* ;Y342(*0* :*G [,*%)()1,5 ,&1G< ()> &2, 4',*,)1, %' (9*,)1, %+1,'&(0) 4('(3,&,'* %) ( 70:,) *-)&2G

<,.g' 3$-.)-5, 5')-+ .#, “OctBrass” B1,',. E#)*, E, \$35' $- .#, 8$-.1$*' ',3.)$-W R\you’re using the default virtual keyboard the knobs and sliders '#$5*7 *$$@ *)@, .#)'Z

The Controls section

Let’s say that you’ve decided that “OctBrass” is very close to what you want, but youg7&3.5&**M *)@, ). .$ 0, 01)+#.,1 .#&- ). )'W 6** M$5 #&9, .$ 7$ )' .51- .#, D8NS 85.$\\ @-$0 )-.#, 8$-.1$*' ',3.)$- 3*$3@E)', 5-.)* M$5 1,&3# .#, 7,')1,7 '$5-7W

Filter Cutoff knob (VCF1)

Now let’s say .#&. E, E&-. .#, B1,',. .$ #&9, & 45)3@ &..&3@W "$ 7$ .#&.X ')%B*M &7]5'.the controls labeled “AttackTime Env1” and “AttackTime VCA1” to their minimumB$').)$-'W

2M %&@)-+ .#,', '*)+#. modifications to the original “`3.21&''” B1,',. E, #&9,.1&-'\$1%,7 $51 '$5-7 \1$% & %,**$E 'M-.# 01&'' )-.$ &- &++1,'')9, B$*M'M-.#W c$5 3&-%$7)\M ). \51.#,1 0M 3#&-+)-+ .#, 1,*,&', .)%, $1 &-M $.#,1 &9&)*&0*, B&1&%,.,1f .#,1, )'& #5+, 1&-+, $\ '$-)3 B$'')0)*).),' E).#)- .#,', B&1&%,.,1'W

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Let's take our modified “`3.21&''” preset and hit the “Save As” button on the tool bar:

The ‘ Save As’ button

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6. .#, 9,1M .$B $\ .#, window under the words ‘Save As’ is a feature labeled ‘Overwrite’.It allows you to choose whether you’d like to overwrite a previous version of a User

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'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL *Z

The ‘ Save As’ window

Be sure to select one of the “Types” and some “Characteristics” so you can locate yourB1,',. %$1, ,&')*M )- .#, \5.51,W 6\.,1 M$5 #&9, 7$-, .#)'X 3*)3@ .#, “F&9,” 05..$-W R\ .#,\)*.,1 $B.)$-' $\ M$51 -,E B1,',. %&.3# .#, 3511,-. \)*.,1 ',..)-+'X M$51 -,E B1,',. E)**

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Now that you’ve learned a few basics we want to show you a few things that will helpM$5 3$-\)+51, .#, 6-&*$+ <&0 '31,,- .$ '5). M$51 -,,7'W

We’ve been focusing on the features of individual windows, but there are some features

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Each window is framed by a gray border, as you’ve noticed. But what is less obvious are.#, .&0' M$5 3&- 5', .$ %$9, .#$', 0$17,1' &-7 %&@, & E)-7$E *&1+,1 $1 '%&**,1W

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When this is the case you’ll see a couple of blue scroll bar indicators at one ed +, $\ .#,window in question. If you don’t have a scroll wheel on your mouse, then click one of

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S%&,? N e’ll discuss what a Mul &0 0* ()> 2%= &% 1',(&, %), 0) F2(4&,' \G\G T%' )%= it’ll*.++01, &% J)%= &2(& ( K./&0 0* ( *4/0& %' /(-,',> (''()7,3,)& %+ &=% B%.)>*G

You’ll find the Snapshot tab on the left side of the virtual keyboard’s top panel:

Location of the Snapshots tab

When you click on the blue area (the “tab”) it will open up the Snapshots section, which

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'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL ;Q

The Snapshots section

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It’s very easy to store the current B1,',. &' & F-&B'#$.f ')%B*M 71&+ ). $-.$ $-, $\ .#,F-&B'#$. 05..$-'W

N$1 ,a&%B*,Z If you open the “7&\ ” preset by clicking on it, &** M$5 #&9, .$ 7$ .$ '&9, ).

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In the following picture you’ll see what it looks like when two Snapshots have been

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Two Snapshots ready to go

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That’s just the tip of the iceberg, though: Each Sound in the Multi (known as a ‘Part’)#&' &- )-7,B,-7,-. ',..)-+ \$1 *,9,*X '.,1,$ B&--)-+X .E$ Ni ',-7'X &-7 .1&-'B$').)$-=0$.# 3#1$%&.)3 &-7[$1 0M $3.&9,'>W c$5 3&- &*'$ 7,.,1%)-, E#)3# G&1. E)** 0, &\\,3.,70M :R(R %,''&+,' '53# &' B).3# 0,-7X %$7 E#,,*X &\.,1.$53#X '5'.&)- &-7 ,aB1,'')$-W

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And just like in Sound mode, we’ve given you a *&1+, ',*,3.)$- $\ 1,&7MU%&7, :5*.)' .#&.

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There’s more to say, but for now let’s just get into Multi mod,W "$ 7$ .#)'X 3*)3@ .#, “:5*.)” tab )- .#, .$$* 0&1Z

Multi mode tab

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'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL ;;

Multi mode window

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We’ll dive into a serious explan&.)$- $\ ,9,1M.#)-+ & :5*.) 3&- 7$ )- 8#&B.,1 _W_W 25.there’s one more feature that should be explained now: How to change which Sound(s)&1, 0,)-+ 5',7 E).#)- .#, :5*.)W

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F,, .#, +1&M,7Uout word ‘Sound’ at the top of the Preset list window? Click on this word

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A5'. & \,E ')%B*, 3hanges can result in a unique and useful Multi. So if you’ve madesomething you’d like to keep, it’s easy to do:

Click the ‘Save As’ button

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Click ‘Save’.

You’ve just created your own Multi!

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`51 '$5-7 7,')+-,1' #&9, 7$-, %&19,*$5' E$1@ '5BB*M)-+ &** '$1.' $\ +1,&. :5*.)'X &-7it’s sometimes faster to find something that’s in the ballpark and make some minor

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So if you’d like to start with a blank slate, click the ‘New’ button in the tool bar:

Note: the ‘New’ button is only active in Multi mode.



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL ;O

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There’s a third performance $B.)$- \$1 6-&*$+ <&0 B$').)$-,7 -,a. .$ .#, F$5-7 &-7 :5*.)%$7, 05..$-' \$1 ,&'M &33,''Z <)9, %$7,W

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We’ll delve into the details of Live mode in chapter 5. But for now if you’d like to try it$5.X 3*)3@ .#, <)9, %$7, 05..$-Z

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Let’s work with Sounds for now. Click on one of the Sound names and drag it over to theG1$+1&% :&B ',3.)$- $- .#, 1)+#. ')7, $\ .#, <)9, %$7, E)-7$EZ

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There’s a lot more you can do with Live mode! See section _We \$1 %$1, )-\$1%&.)$-W



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H0>-8 *ROR;L $:\>D@: *RORN6 "#)' 7,-$.,' .#&. M$5 #&9, &- $*7,1 9,1')$- $\ &B*5+U)- .#&- )' 1,45)1,7 0M 6-&*$+ .$ E$1@ 3$11,3.*MW OB7&., M$51 B*5+U)- &-7 ).E)** .#,- '#$E 5B &-7 E$1@W

(0E '>E<0@De:86 "#, \5** 9,1')$- $\ .#, B*5+U)- #&' 0,,- \$5-7 05. .#,1, )' -$*)3,-', \$1 ). )- .#, ,<)3,-',1W c$5 %5'. &3.)9&., .#)' B1$753. )- $17,1 .$ 5', ). \$1,7).)-+

S%&,? 6 9(*01 /,:,/ %+ *%.)> ,>0&0)7 1(4(90/0&- 0* (/=(-* (:(0/(9/, =0&20) 6)(/%7 8(9G 6.&2%'0W(&0%) (//%=* (11,** &% &2, +.// ,>0&0)7 1(4(90/0&- %+ &2(& 0)*&'.3,)&G

ORQR; 657)$ o :R(R F,..)-+'

"#, 657)$ o :R(R F,..)-+' E)-7$E )' E#,1, M$5 3&- 7,\)-, 0&')3 657)$ &-7 :R(R$B.)$-'W



;W '$+!$,' – '-./01 ).2 – USER’S MANUAL

The “Audio &MIDI Settings” windows for Windows and Mac OS X

7#f,G# "#, .$B *)-, &**$E' M$5 .$ ',*,3. .#, &57)$ 71)9,1 \$1 6-&*$+ <&0W

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+#"+ F,-7' $5. & '#$1. ')-, E&9, .$-, .$ #,*B %&@, '51, '$5-7 )'0,)-+ ',-. $5. .#, 3$11,3. 7,9)3,W

"'&3)# $'+# 8#$$',' .#, '&%B*, 1&.,f .#, 7,\&5*. )' VVWS H?^W R-31,&')-+ .#,'&%B*, 1&., )-31,&',' .#, 45&*).M $\ '$5-7X 05. &77' & 0)++,1 *$&7.$ .#, 8GOW

'!7,4 I!HH#$",b#

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'G+,f# &,7,

,(3!+"

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'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL ;Z

OR* +00/ I.@

"#, .$$* 0&1 3$-')'.' $\ & ',. $\ ,'',-.)&* )3$-'X $1+&-)^,7 \1$% *,\. .$ 1)+#.Z

Tool Bar

"#, .$$* 0&1 &**$E' M$5 .$ ',, $1 #&9, &33,'' .$Z

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)DX: P-.,1' <)9, %$7,X E#,1, 5B .$ SJC F$5-7' &-7[$1 :5*.)' 3&- 0,B*&3,7 )- .#, 7,')1,7 $17,1 \$1 & B,1\$1%&-3, $1 ,&'M (6I &33,''

(:T 81,&.,' &- ,%B.M :5*.) E).# -$ &'')+-%,-.' \$1 F$5-7 $1 NiX ,.3W

".X: F&9,' 3#&-+,' .$ .#, 3511,-. O',1 B1$+1&%W

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F$5-7X qW*%a \$1 & :5*.)>X &-7 +)9, ). & 5-)45, -&%,W "#)' \)*,3$-.&)-' & ')-+*, O',1 F$5-7 $1 & ')-+*, O',1 :5*.)X 7,B,-7)-+ $-E#&. #&' 0,,- ',*,3.,7W

R& 0* )%& 4%**09/, &% R34%'&OYU4%'& +(1&%'- 4',*,&*G

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G0--:BE R\ M$5 '.&1.,7 6-&*$+ <&0 0,\$1, 3$--,3.)-+ M$51 OF2 :R(R3$-.1$**,1X 3*)3@ .#)' 05..$- .$ ,'.&0*)'# .#, :R(R 3$--,3.)$-W

fD@E>./ G0-E@0//:@ F,*,3. E#)3# 9)1.5&* 3$-.1$**,1 E)** 0, ',,- E#,- 6-&*$+ <&0 '.&1.'



N[ '$+!$,' – '-./01 ).2 – USER’S MANUAL

&,7, Enables ‘learn’ mode for the virtual controls in Analog Lab. Each3$-.1$* 3&- 0, *)-@,7 .$ &- )-3$%)-+ :R(R 3$-.1$* %,''&+,X &-7.#, ,-.)1, ',. $\ *,&1-,7 &'')+-%,-.' )' 3&**,7 & 8$-\)+51&.)$-W

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c:92 F#$E $1 #)7, .#, @,M' $\ .#, 9)1.5&* @,M0$&17W "#, 8$-.1$*'',3.)$- E)** 1,%&)- 9)')0*,W

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"0?E G/DA ?,*B' &9$)7 7)+).&* 7)'.$1.)$- E#,- .#, $5.B5. ')+-&* 0,3$%,'

very hot. You might want that sometimes, though, so we’ve givenM$5 .#, $B.)$- .$ 7)'&0*, .#)' \,&.51,W

3.-DB F#5.' $\\ &** -$.,'

G3! Y:E:@ 6**$E' M$5 .$ +&5+, .#, *$&7 & F$5-7 $1 :5*.) )' B*&3)-+ $- M$51computer’s processing resources.

OR; fD@E>./ =:920.@8

"#, 9)1.5&* @,M0$&17 )- 6-&*$+ <&0 +)9,' M$5 &33,'' .$ 0$.# & 3*)3@U&-7UB*&M @,M0$&17&-7 & '*,E $\ 3$-.1$*' E#)3# M$5 3&- 5', .$ %$7)\M .#, F$5-7'W Let’s work our way.#1$5+# ,&3# ',3.)$-W

OR;RQ

fD@E>./ =:920.@8 0AED0-C

I#,- 6-&*$+ <&0 7,.,3.' M$51 61.51)& 3$-.1$**,1 ). &5.$%&.)3&**M 3#$$',' & 9)1.5&*keyboard that matches that unit’s appearance and functionality, so all of your controls&1, 9)')0*, $- .#, 3$%B5.,1 &-7 .#,)1 &'')+-%,-.' %&.3# )-'.&-.*MW R\ M$5 E$5*7 *)@, .$override this assignment, or if you don’t have an Arturia keyboard connected to AnalogLab, then there’s a pullU7$E- %,-5 )- .#, .$$* 0&1 .#&. &**$E' M$5 .$ ',*,3. $-, $\ \$513$-.1$**,1 .MB,'W



N* '$+!$,' – '-./01 ).2 – USER’S MANUAL

"$ 31,&., & F-&B'#$.X 3*)3@ $- & F$5-7 $1 :5*.) &-7 71&+ ). $- .$B $\ .#, F-&B'#$.05..$-W "#,- -,a. .)%, M$5 E&-. .$ \)-7 .#&. B1,',.X ')%B*M $B,- .#, F-&B'#$.' .&0 &-73*)3@ $- .#&. 05..$-W "#, F$5-7 $1 :5*.) M$5 B*&3,7 .#,1, E)** 0, *$&7,7 )-.$ %,%$1MW

R- &77).)$- .$ .#, 3$-9,-),-3, $\ #&9)-+ M$51 \&9$1)., F$5-7' $1 :5*.)' &9&)*&0*, \1$%.#, B&7' $\ M$51 61.51)& 3$-.1$**,1 @,M0$&17X .#, F-&B'#$.' 3&- &*'$ 0, 5',\5* \$13$%B&1)-+ %$7)\)3&.)$-' .$ & +)9,- F$5-7 )- $17,1 .$ 3#$$', E#)3# 9,1')$- \).' 0,'. )-.$

& B1$],3.W N$1 ,a&%B*,X M$5 3$5*7 '.$1, %5*.)B*, 9,1')$-' $\ .#, '&%, B1,',. E).#7)\\,1,-. N)*.,1 ',..)-+'X ,\\,3.'X 7,3&M .)%,'X ,.3WX &-7 3&** .#,% 5B $- .#, \*M .$ ',,E#)3# $-, E$1@' .#, 0,'. \$1 .#&. ').5&.)$-W

\G_G`G] I(>* &(9

6' E).# .#, F-&B'#$.' .&0X .#, 9,1.)3&* 0*5, *&0,* $- .#, '072& ')7, $\ .#, @,M0$&17 #)7,'.#, G&7 +1$5B \$1 .#, 9)1.5&* @,M0$&17W "#, -5%0,1 $\ &9&)*&0*, G&7' 9&1),' \$1 ,&3#@,M0$&17 $B.)$-W 8*)3@ .#)' *&0,* &-7 .#, F-&B'#$.' B&-,* E)** $B,-X 1,9,&*)-+ .#,F-&B'#$. 05..$-'W 8*)3@ ). &+&)- &-7 .#, G&7' B&-,* E)** 3*$',W

"#, B&7' &**$E M$5 .$ 'B,3)\M &-7 .1)++,1 3#$17' E#,- M$5 3*)3@ .#, B&7W "$ 7$ .#)'X 3*)3@)-')7, ,&3# \),*7 &-7 ',*,3. .#, 9&*5,' M$5 E&-.Z \$1 ,a&%B*,X )\ M$5 E&-. .#, B&7 .$.1)++,1 & 8 :&] e 3#$17 )- .#, %)77*, $\ .#, @,M0$&17 1&-+,X ',*,3. 8Y \1$% .#, 8#$17/$$. %,-5 &-7 :&]e \1$% .#, 8#$17 "MB, %,-5W "#,', ',..)-+' E)** 0, 1,%,%0,1,7 .#,

-,a. .)%, M$5 *&5-3# 6-&*$+ <&0W

\G_G`G\ \D%1&(:, J,-9%('>

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'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL N;

OR;R; fD@E>./ =:920.@8C6 +0 :.B< DEC 0T- B0-E@0/ C:BED0-

Default controller

"#, (,\&5*. 9)1.5&* #&' .#, *&1+,'. -5%0,1 $\ 3$-.1$*'Z .,- @-$0'X -)-, '*)7,1'X .,-F-&B'#$. 05..$-'X &-7 ')a.,,- B&7'W

"#, <&0$1&.$1M 9)1.5&* 3$-.1$**,1 )' B1,..M ')%)*&1Z .,- @-$0'X -)-, '*)7,1'X .,- F-&B'#$.05..$-'X &-7 \$51 B&7'W

Player controller

"#, G*&M,1 9)1.5&* 3$-.1$**,1 +)9,' M$5 ,)+#. @-$0'X B*5' \$51 F-&B'#$. 05..$-' &-7 -$B&7'W

Factory controller

"#, N&3.$1M 9)1.5&* 3$-.1$**,1 $\\,1' .,- @-$0'X \$51 '*)7,1'X ,)+#. F-&B'#$.' &-7 -$ B&7'W



NN '$+!$,' – '-./01 ).2 – USER’S MANUAL

MiniLab controller

"#, :)-)<&0 9)1.5&* 3$-.1$**,1 +)9,' M$5 \$51.,,- @-$0'X ,)+#. F-&B'#$.' &-7 ,)+#. B&7'W

KeyLab controller

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OR;RN

'CCD1-.2/: &,7, B0-E@0/ 0? [email protected]:E:@C

"#, @-$0' &-7 '*)7,1' $- .#, 9)1.5&* @,M0$&17 3&- ‘learn’ which external MIDI control'M$5 E&-. .$ 5', .$ 3$-.1$* .#, B&1&%,.,1' )-')7, 6-&*$+ <&0W "#)' )' 9,1M ,&'M .$ 7$W

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=',, ',3.)$- _WSWY>W"#, 3#&--,* $- E#)3# :R(R 7&.& E)** 0, 1,3,)9,7 )' ,).#,1 7,\)-,7 \$1 .#, 6-&*$+ <&0B*5+U)- 0M .#, #$'. (6I $1 7,\)-,7 0M .#, 6-&*$+ <&0 &BB*)3&.)$- ).',*\ )- '.&-7&*$-,%$7,W

`-3, .#, $9,1&** :R(R 3#&--,* #&' 0,,- 'B,3ified it is possible to ‘mark’ a particular)-3$%)-+ :R(R %,''&+, &' 0,*$-+)-+ .$ & B&1.)35*&1 9)1.5&* 3$-.1$* )- 6-&*$+ <&0W

"$ 7$ .#)'X 3*)3@ $- .#, :R(R 05..$- )- .#, .$$* 0&1 &-7 &** 9)1.5&* 3$-.1$*' )- 6-&*$+ <&0E)** 0, #)+#*)+#.,7 )- B51B*,W "#,- 3*)3@ .#, 6-&*$+ <&0 3$-.1$* M$5 E&-. .$ &'')+-W

The ‘MIDI Control Setup’ window will appear, allowing the selected virtual control in6-&*$+ <&0 .$ *,&1- .#, :R(R 3$-.1$* -5%0,1 $\ E#)3#,9,1 3$-.1$* M$5 &3.)9&., $- M$51#&17E&1, 3$-.1$**,1W



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL NO

Assigning an external MIDI controller

Let’s discuss the information in the above window.

Learning… F)+-)\),' .#&. .#, ',*,3.,7 6-&*$+ <&0 3$-.1$* )' E&).)-+ .$ 1,3,)9,

:R(R )-\$1%&.)$- \1$% .#, #&17E&1, 3$-.1$* M$5 &3.)9&.,W

8$-.1$* -&%,Z <,.' M$5 @-$E .#, )-.,1-&* )7,-.).M 6-&*$+ <&0 #&' &'')+-,7 .$ .#,9)1.5&* 3$-.1$* M$5 #&9, ',*,3.,7W R. )' -$. B$'')0*, .$ ,7). .#)' -&%,W

:)- [ :&aZ "#,', .E$ +1&B#)3' )-7)3&., .#, 7,.,3.,7 1&-+, $\ %$.)$- \$1 .#,

,a.,1-&* 3$-.1$*W 2, '51, .$ %$9, .#, ,a.,1-&* 3$-.1$* .#1$5+# ).' ,-.)1, 1&-+,E#)*, ,'.&0*)'#)-+ .#, 3$--,3.)$-f .#)' E)** %&a)%)^, .#, 1,'$*5.)$- $\ .#, 3$-.1$*W

O-&'')+-,7Z You’ll either see the word “Unassigned” here or the incoming MIDI88 -5%0,1 1,*&.,7 .$ .#, 7&.& 0,)-+ +,-,1&.,7 0M .#, #&17E&1, 3$-.1$*W

R' /,*&.)9,Z R\ .#, #&17E&1, 3$-.1$* ',-7' 7&.& )- & 1,*&.)9, \$1%&.X *,&9, .#)'0$a 3#,3@,7W R\ ). ',-7' 7&.& )- & *)-,&1 \&'#)$- =#&17E)1,7 \1$% LUSJe>X 5-3#,3@.#)' 0$aW 6 B1$B,1 ',..)-+ E)** ,-'51, & 1,*)&0*, 1,'B$-', 0,.E,,- #&17E&1, &-7'$\.E&1, \$1 .#)' B&1&%,.,1W /,\,1 .$ .#, 7$35%,-.&.)$- \$1 M$51 #&17E&1,3$-.1$**,1 )\ M$5 7$ -$. @-$E E#)3# $B.)$- M$5 '#$5*7 5',W

O-&'')+-Z "$ 7,&3.)9&., .#, :R(R 3$--,3.)$- $\ & B&1.)35*&1 3$-.1$*X ',*,3. ).as described above and then simply click the “Unassign” option in the :R(R

8$-.1$* F,.5B E)-7$EW

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"$ 3*$', .#, :R(R 8$-.1$* F,.5B E)-7$EX 3*)3@ .#, :R(R 05..$- )- .#, .$$* 0&1 &+&)-W

OR;RO #gA0@ED-1_,YA0@ED-1 E<: &,7, G0-?D1>@.ED0- ^hR/.2*YD8D`

Once you’ve completed a set of MIDI Control Setup assignments to your external USB:R(R 3$-.1$**,1X 0, '51, .$ ,aB$1. .#,% &' & 0&3@5BW c$5 3&- &*'$ 31,&., &-7 ,aB$1. &7)\\,1,-. ',. $\ 3$-.1$* &'')+-%,-.' \$1 & 7)\\,1,-. :R(R 3$-.1$**,1 7,B,-7)-+ $- E#,1,

you’ll be working or performing. Multiple Configurations can be listed in the drop U7$E-*)'. &-7 &1, &9&)*&0*, \$1 )%%,7)&., ',*,3.)$-W

"$ &33,'' .#,', \,&.51,'X 3*)3@ $- .#, &11$E -,a. .$ .#, :R(R 05..$- )- .#, .$$* 0&1Z



NP '$+!$,' – '-./01 ).2 – USER’S MANUAL

Here’s a breakdown of what each of those features does:

G0A9 B>@@:-E

B0-?D1

6-M 3#&-+,' M$5 %&@, .$ .#, 3511,-. 3$-\)+51&.)$- 0,3$%, B&1.$\ .#&. 3$-\)+51&.)$-W F$ 0, '51, .$ 5', .#)' \,&.51, 0,\$1, M$531,&., & -,E 3$-\)+51&.)$- '$ E)** -$. &33)7,-.&**M &*.,1 .#,3511,-. 3$-\)+51&.)$-W 6 E)-7$E E)** B1$%B. M$5 .$ +)9, .#, -,E

8$-\)+51&.)$- & -&%,X &\.,1 E#)3# ). E)** &BB,&1 &. .#, 0$..$% $\.#, 71$BU7$E- *)'.W

7:/:E: B>@@:-EB0-?D1

;$.,Z 2, '51, .$ ,aB$1. & 3$-\)+51&.)$- \)1'. 0,\$1, 7,*,.)-+ ).pc$5 %&M 7,3)7, M$5 E&-. .$ 5', ). *&.,1 &\.,1 &**W

Based on the picture above, if you were to select “Delete” theconfiguration “My_external_setup” would be deleted from the71$BU7$E- *)'.W R\ M$5 #&9, ,aB$1.,7 ). 0,\$1, 7,*,.)-+ ). .#,- ).E)** '.)** 1,%&)- )- .#, \$*7,1 E#,1, M$5 B*&3,7 ).X &-7 M$5 3&- 1,U)%B$1. ). *&.,1 \1$% .#,1,W

,YA0@E B0-?D1 6**$E' M$5 .$ )%B$1. & 3$-\)+51&.)$- \1$% E#&.,9,1 *$3&.)$- M$5#&9, 5',7 &' &- ,aB$1. 7,'.)-&.)$-W

#gA0@E B>@@:-EB0-?D1

O', .#)' .$ 31,&., & 0&3@5B 3$BM $\ M$51 3$-\)+51&.)$- $5.')7, .#,6-&*$+ <&0 B1$+1&%W "#&. E&M M$5 E)** 0, &0*, .$ 1,U)%B$1. ). )\M$5 &33)7,-.&**M 7,*,., ). \1$% .#, 3$-\)+51&.)$- *)'.W

"#, :R(R 3$-.1$**,1 3$-\)+' E)** 0, ,aB$1.,7 )-.$ .#, \$1%&. “*.lab2midi” (“*” stands for the name you have given to the file).

G0-?D1>@.ED0- /DCE `-3, M$5 #&9, +)9,- & -&%, .$ M$51 -,E 3$-\)+51&.)$- ). E)**&BB,&1 )- .#, 71$BU7$E- %,-5 5-7,1 .#, (,\&5*. 3$-\)+51&.)$-Wc$5 3&- -$E ',*,3. ).X ,aB$1. ). $1 7,*,., ). \1$% .#)' *)'.W

As you can see, it’s easy to set up Analog Lab to work perfectly with whatever controlleryou are using. This means you’ll be able to set up Analog Lab quickly for any situation,E#,.#,1 M$5 E)** 0, 1,3$17)-+ $1 B,1\$1%)-+ *)9,W

ORN "0>-8 &08:

6 B1,',. 3$-.&)-' .#, %,%$1)^,7 ',..)-+' $\ .#, 9&1)$5' B&1&%,.,1' .#&. &1, -,3,''&1M.$ 1,B1$753, & B&1.)35*&1 '$5-7W "#, F$5-7 %$7, B&+, )' E#,1, )-7)9)75&* B1,',.' &1,*$3&.,7W

"$ &33,'' F$5-7 %$7,X 3*)3@ .#, F$5-7 05..$- $- .#, *,\. ')7, $\ .#, .$$* 0&1W "#)' )'what you’ll see:



NW '$+!$,' – '-./01 ).2 – USER’S MANUAL

R\ M$5 3*)3@ $- 8FUCL DX \$1 ,a&%B*,X .#, G1,',. :&-&+,1 E)** B1$9)7, & *)'. $\ B1,',.'71&E- ,a3*5')9,*M \1$% .#, 8FUCL DW 25. M$5 3&- &*'$ 3#$$', .$ 01$E', .#, B1,',.' \$1%$1, .#&- $-, R-'.15%,-. &. .#, '&%, .)%,W N$1 ,a&%B*,X 0M ',*,3.)-+ 0$.# 8FUCL Dand ARP 2600 V in the “Instrument'” \1&%,, you’ll see a list of presets from only those.E$ )-'.15%,-.'W

I#,- -$ )-'.15%,-. )' ',*,3.,7 \$1 B1,',. \)*.,1)-+X .#,- .#, :&-&+,1 E)** ,).#,1&5.$%&.)3&**M *)'. &** B1,',.' $1 *)'. B1,',.' 0&',7 $- $.#,1 \)*.,1'W

ORNR* "0>-8 +9A:C

The Types filter

“"MB,'” refers to .#, @)-7 $\ '$5-7 M$5 %)+#. 5', \$1 & B&1.)35*&1 B51B$', =0&'' *)-,'X3$%B)-+X ,.3W>W A5'. &' E).# .#, R-'.15%,-.' 3$*5%-X 5', .#, “Type'” 3$*5%- .$ 1,'.1)3..#, G1,',. *)'. 3#$)3,' .$ $-, $1 %$1, $\ .#, \$**$E)-+Z

2&'' 21&'' PNi N:

h5).&1

<,&7

`1+&-

G&7

G,135'')9, G)&-$ F,45,-3, F.1)-+'

6' E).# .#, R-'.15%,-. \)*.,1X $-, 3&- 3#$$', $-, $1 %$1, "MB,' $\ B1,',.'W 2M ',*,3.)-+$-*M 26FFX .#, 5',1 E)** 0, +)9,- & *)'. .#&. 3$-.&)-' $-*M 0&'' B1,',.'X &-7 )\ $-,3#$$',' 26FF &-7 F"/R;hF 0$.# "MB,' E)** 0, B1$9)7,7W

"#, 5',1 %&M &*'$ ',&13# 7,,B,1 0M ',*,3.)-+ &-7 3$%0)-)-+ .#, 7)\\,1,-. \)*.,1'W N$1,a&%B*,X $-, %&M 3#$$', 26FFX G6(X &-7 F"/R;hF 5-7,1 .#, "MB, \)*.,1 &-7 :`(O<6/D &-7 6/G JKLL D )- .#, R-'.15%,-.' \)*.,1W "#, G1,',. :&-&+,1 E)** .#,- $\\,1 & *)'.\5*\)**)-+ $-*M .#, &0$9, 31).,1)&W



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL NZ

ORNR; "0>-8 G<[email protected]:@DCEDBC

The Characteristics filter

N51.#,1 1,\)-,%,-. $\ M$51 ',&13# )' &9&)*&0*, .#1$5+# & .#)17 \)*.,1Z “Characteristics” W"#)' &**$E' M$5 .$ 3#$$', B1,',.' &33$17)-+ .$ '$-)3 45&*).),' '53# &'Z

63)7 6++1,'')9, 6%0),-. 2)^&11,

21)+#. 8$%B*,a (&1@ ()+).&*

P-',%0*,

N5-@M

?&17

<$-+

;$)',

j5),.

F#$1.

F)%B*,

F$\. F$5-7.1&3@

6' E).# $.#,1 31).,1)&X .#,', \)*.,1' 3&- 0, &BB*),7 ,).#,1 )-7)9)75&**M $1 )- &-M 7,')1,73$%0)-&.)$-W

ORNRN '88DED0-./ HD/E:@C

The Favorites and User filters

"#, *&'. \)*.,1' &**$E M$5 .$ 3#$$', \&9$1)., $1 5',1 B1,',.'W

G1,',.' &1, %&1@,7 &' N&9$1)., )- .#, *)'. $\ '$5-7' 0M 3*)3@)-+ .#, 05**,. )- .#,N6D 3$*5%- W

G1,',.' B1$9)7,7 E).# 6-&*$+ <&0 &1, N&3.$1M E#)*, B1$+1&%' 31,&.,7 0M 5',1'&1, %&1@,7 &' O',1W R\ .#, O',1 \)*.,1 )' ',*,3.,7X .#, 5',1 B1$+1&%' E)** 0, .#,$-*M B1,',.' '#$E-W R\ M$5 #&9, -$. 31,&.,7 &-M O',1 B1,',.'X M$5 E)** ',, -$'$5-7' *)'.,7W



O[ '$+!$,' – '-./01 ).2 – USER’S MANUAL

ORNRO 3@:C:E 8:E.D/C

"$ .#, 1)+#. $\ .#, G1,',. *)'. )' & E)-7$E '#$E)-+ ,'',-.)&* 7,.&)*' &0$5. .#, ',*,3.,7G1,',.W c$5 3&- ,7). &-M $\ .#, 7,.&)*' \1$% .#)' E)-7$E ,a3,B. .#, -&%, $\ .#, B1,',.f

.#&. $B,1&.)$- )' &33$%B*)'#,7 5')-+ .#, F&9, 6' B1$3,751,W ="#, FM-.# )-'.15%,-. .MB,)' \)a,7X $\ 3$51',W>

Preset details

6- )%&+, $\ .#, )-'.15%,-. $- E#)3# .#, B1,',. )' 0&',7 )' '#$E- &*$-+ E).# .#,\$**$E)-+ )-\$1%&.)$-Z

(.Y: "#, -&%, $\ .#, 3511,-. B1,',. =.$ 1,-&%,X 5', F&9, 6' 05..$->

"9-E< "#, -&%, $\ .#, 9)1.5&* )-'.15%,-.

)H4 "9-B "$++*, :R(R 'M-3 $\ <N`' $- $1 $\\

30/9A<0-9 "#, -5%0,1 $\ &9&)*&0*, 9$)3,' \$1 .#, 3511,-. B1,',.

c:9 &08: 8#$$', :$-$X O-)'$- $1 G$*M %$7,' \$1 .#, B$*MB#$-M ',..)-+

":\_'@A "E:A "De: F507)9)7, $1 %5*.)B*M .#, -$., 9&*5, $\ &- &3.)9, ',45,-3, $1&1B,++)$X $1 &7]5'. ).' 'B,,7 )\ <N` FM-3 )' -$. ,-&0*,7

3DEB<2:-8 $.-1: F,. .#, %&a)%5% *)%).' $\ .#, B).3# 0,-7 E#,,*

S%&,? R+ &2, 4',*,& +%' =2012 -%. (', (>b.*&0)7 &2, >,&(0/* 0* ( T(1&%'- 4',*,&5 -%. 3.*&*(:, &20* 4',*,& (* ( A*,' 4'%7'(3 0) %'>,' &% ',1(// &2%*, 12()7,* /(&,'G

ORNRP #8DED-1 . A@:C:E

`-, $\ .#, +1,&. \,&.51,' $\ 6-&*$+ <&0 )' .#&. ). )' B$'')0*, \$1 &-M $\ ).' B1,',.' .$ 0,$B,-,7 &-7 ,7).,7 5')-+ .#, $1)+)-&* 61.51)& '$\.U'M-.# $- E#)3# ). E&' 31,&.,7X &' *$-+&' M$5 #&9, B513#&',7 &-7 )-'.&**,7 & 3$BM $\ .#&. 'M-.#,')^,1 $- M$51 3$%B5.,1W

"#&. 0,)-+ .#, 3&',X .#,- 3*)3@)-+ $- .#, B)3.51, $\ .#&. 'M-.#,')^,1 )-')7, .#, G1,',.7,.&)*' E)-7$E E)** $B,- .#, 3511,-. B1,',. )-')7, .#&. 'M-.#W



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL OQ

N$1 )-'.&-3,X )\ M$5 $E- & 3$BM $\ 8FUCL D M$5 3&- $B,- &-M $\ .#, 8FUCL D B1,',.' M$5\)-7 0M 3*)3@)-+ $- .#, 8FUCL D B)3.51,Z

CS-80 V picture

;,a.X .#, 8FUCL D ,7).)-+ E)-7$E E)** $B,-Z

An open CS-80 V preset being edited from within Analog Lab

6\.,1 .#)' M$5 3&- ,7). .#, B1,',. #$E,9,1 M$5 *)@, E).# .#, 8FUCL D 3$-.1$*' &-7 .#,-'&9, .#, ,7).,7 B1,',. &' -,E O',1 B1,',.W



O* '$+!$,' – '-./01 ).2 – USER’S MANUAL

T(1&%'- 4',*,&* 1())%& 9, %:,'='0&&,)E &2,- 1() %)/- 9, 3%>0+0,> ()> *(:,> (* A*,' 4',*,&*G

ORNRS [email protected]

R- &77).)$- .$ .#, ',&13# \)*.,1' %,-.)$-,7 ,&1*),1X .#,1, &1, &*'$ 9),E)-+ $B.)$-' E).#)-.#, G1,',. :&-&+,1 .#&. &**$E M$5 .$ 3#$$', #$E .#, B1,',.' &1, *)'.,7W

"#, *)'. $\ G1,',.' &*E&M' &BB,&1' )- & 9,1.)3&* 3$*5%- $- .#, *,\. ')7, $\ .#, '31,,-5-7,1 3@:C:E (.Y:R I#,- 6-&*$+ <&0 )' \)1'. *&5-3#,7X .#, B1,',.' &1, *)'.,7 )-&*B#&0,.)3&* $17,1 \1$% 6 .$ sW "#)' 3&- 0, 1,9,1',7 =s .$ 6> 0M 3*)3@)-+ $- .#, G1,',.;&%, 3$*5%- &+&)-W

?$E,9,1X )\ .#, 5',1 B1,\,1'X .#, B1,',.' 3&- 0, 1,U$17,1,7 &33$17)-+ .$ .#, 3&.,+$1),'\$5-7 )- .#, &7]&3,-. 3$*5%-'Z

+i3# "#)' )' .#, 3$*5%- to use if you’re looking for a particular type of'$5-7 =2&''X G&7X F,45,-3,X E#&.,9,1>W 8*)3@ &. .#, .$B $\ .#, "MB,

3$*5%- &-7 .#, B1,',.' E)** 0, $17,1,7 &33$17)-+ .$ &- &*B#&0,.)3&**)'.)-+ $\ .#, "MB, 3#&1&3.,1)'.)3'W

,("+$!&#(+ If you’re looking for a sound made by a particular Arturia instrument'53# &' G1$B#,. DF $1 I51*).^,1 DX 3*)3@ $- .#, R-'.15%,-. 3$*5%-&-7 .#, B1,',.' E)** 1,$1+&-)^, 0&',7 $- .#, &*B#&0,.)3&* $17,1 $\ .#,R-'.15%,-. 3$*5%-W

H'f4$,+#" 6**$E' M$5 .$ )-7)3&., .#&. 3,1.&)- B1,',.' are your ‘goUto’ choices

E#,- M$5 '.&1. & -,E B1$],3.W F)%B*M 3*)3@ .#, N&9$1).,' 3$*5%- &-7.#,M E)** 0, B*&3,7 &. .#, .$B $\ .#, G1,',. *)'. =$1 &. .#, 0$..$%X )\M$5 3*)3@ ). &+&)->W

$'+,(5 R-7)3&., M$51 *)@,' &-7 7)'*)@,' \$1 ,&3# B1,',.X $1 ')%B*M 5', .#)' &'&-$.#,1 E&M .$ 3&.,+$1)^, .#,% =',. *)'.' [ B1$],3.' [ 0&-7' SU_X ,.3W>

7#",5(#$ R\ & B&1.)35*&1 '$5-7 @-$3@' M$51 '$3@' $\\X M$5 %&M E&-. .$ 'B,-7'$%, .)%, \$35')-+ $- E#&. ,*', .#&. '$5-7 7,')+-,1 #&' 31,&.,7W8*)3@)-+ $- .#, (,')+-,1 3$*5%- &**$E' M$5 .$ 7$ .#)'W

H'G+4$i "E$ 3#$)3,'Z N&3.$1M $1 O',1W "#, '.&.5' $\ .#, 7$.' )' \)a,7Z & E#).,dot means ‘Factory preset’ and a blank dot means ‘User preset.’"$++*, .#)' 3$*5%- .$ 3#&-+, E#)3# '$1. )' B*&3,7 &. .#, .$BW

ORO &>/ED &08:

F$5-7 %$7, )' B#,-$%,-&*X 0,3&5', $51 'M-.# %$7,*' &-7 '$5-7 7,')+-,1' &1,&0'$*5.,*M .$BU-$.3#W 25. :5*.) %$7, )' E#,1, 6-&*$+ <&0 1,&**M '.&1.' .$ '#)-,W R. &**$E'M$5 .$ .&@, .E$ F$5-7' &-7 3$%0)-, .#,% )- & *&M,1 $1 'B*). .#,% &31$'' M$51 3$-.1$**,1@,M0$&17 \$1 ')%5*.&-,$5' B*&M&0)*).MW c$5 &*'$ #&9, .#, &0)*).M .$ B$').)$- ,&3# F$5-7E#,1, M$5 E&-. ). )- .#, '.,1,$ \),*7X &7]5'. .#,)1 1,*&.)9, *,9,*'X &-7 .1&-'B$', ,).#,1$-, \$1 &- ,9,- %$1, )%B1,'')9, '$5-7W

We’ve also added quite a bit of flexibility in the ability to enable or disable various MIDI

3$-.1$*' \$1 ,&3# F$5-7 )-7,B,-7,-.*MW

25. :5*.) %$7, )' %53#X %53# %$1, .#&- ]5'. &77)-+ .E$ F$5-7' .$+,.#,1p c$5 3&- &*'$

&77 )-7,B,-7,-. ,\\,3.' .$ ,&3# F$5-7 '53# &' 7,*&MX \*&-+,1X 1,9,10X 0). 1,753.)$-Xcompressor, and distortion, to name a few. We’ve provided a huge varie.M $\ 5*.1&U#)+#



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL O;

45&*).M 7)+).&* ,\\,3.' .#&. E)** .&@, M$51 3$%0)-,7 'M-.#,')^,1 B1$+1&%' &-7 %&@, .#,%B$').)9,*M +%'30>(9/,W

6-7 $\ 3$51', M$5 3&- $B,- .#, ,7).)-+ B&-,* \$1 &-M 61.51)& B*5+U)- 'M-.# M$5 #&9,)-'.&**,7 &-7 &5.#$1)^,7X '$ ). )' B$'')0*, .$ &7]5'. &-M B&1&%,.,1 $\ ,).#,1 F$5-7 &-7dial in the exact combination you’re looking for.

We’ve included hundreds of Multis already so you can get a feel for what’s possible.When you’re ready to learn more about what a Multi can do, please read on.

ORORQ &>/ED &08:6 .- D-E@08>BED0-

The Multi mode screen

"#, :5*.) E)-7$E B)3.51,7 &0$9, 7)'B*&M' .#, \$**$E)-+ \,&.51,' =M$5 %&M -,,7 .$ .$++*,.#, HPc2 05..$- &-7 '31$** 7$E- .$ ',, .#,% &**>Z

"#, :5*.) B1,',. *)'.X E).# \&%)*)&1 3&.,+$1M 3$*5%-' '53# &' ;&%,X N&9$1).,X/&.)-+X (,')+-,1X h,-1,X &-7 N&3.$1M[O',1

"#, F$5-7 .&0X E#,1, F$5-7' %&M 0, ',*,3.,7 \$1 )-3*5')$- )- .#, :5*.)

"#, G1,',. 7,.&)*' E)-7$EX E).# .#, :5*.) -&%,X h,-1, &-7 81,&.$1 ,&')*M ',,-

J F$5-7' $\ &-M .MB,X E).# 3$-.1$*' \$1 <,9,*X G&-X &-7 Ni ',-7 *,9,*' &-7 1$5.)-+$B.)$-'W R\ M$5 $E- $-, $1 0$.# 'M-.#' M$5 3&- 3*)3@ $- .#,)1 )3$-' .$ $B,- .#,%\$1 ,7).)-+

"#, :R(R &-7 FB*). E)-7$EX E#)3# '#$E' E#,1, ,&3# F$5-7 1,')7,' $- .#,keyboard so you’ll know at a glance whether they’ve been split o1 *&M,1,7W c$53&- &*'$ ',. .#,)1 @,M 1&-+,'X :R(R 8#&--,*'X &-7 .1&-'B$').)$- )- .#)' E)-7$E

Ni F,-7' 6 &-7 2Z I#,- &- ,\\,3. )' ',*,3.,7 \1$% .#, B5**U7$E- %,-5' .#,B&1&%,.,1 @-$0' \$1 .#&. ,\\,3. E)** 0, 1,9,&*,7X &**$E)-+ M$5 .$ ,7). .#, ,\\,3.



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL OO

ORORN &>/ED Y08:6 3@:C:E 8:E.D/C

"#, 5BB,1 1)+#.U#&-7 &1,& $\ .#, :5*.) %$7, E)-7$E )' .#, ',3.)$- @-$E- &' .#, G1,',.7,.&)*' E)-7$EW R. '#$E' M$5 .#1,, .#)-+'Z .#, -&%, $\ .#, :5*.)X ).' h,-1, 3*&'')\)3&.)$-X&-7 .#, -&%, $\ .#, '$5-7 7,')+-,1 E#$ 31,&.,7 ).W

The Preset details section of the Multi mode window

ORORO [email protected]:E:@ B0-E@0/ .CCD1-Y:-EC A:@ 3.@E

6' E).# F$5-7 %$7,X ,9,1M 3$-.1$* .#, 9)1.5&* @,M0$&17 $\\,1' 3&- 0, &'')+-,7 .$ $-, $\

the Sound parameters. But in Multi mode two are Sounds active, so we’ve added the&0)*).M .$ ',*,3. & B&1&%,.,1 \1$% ,).#,1 F$5-7 &-7 &'')+- ). .$ ,&3# 3$-.1$*W

"#, B1$3,'' )' .#, '&%, &' E).# F$5-7 %$7,Z 3*)3@ .#, &11$E -,a. .$ & 3$-.1$* &-7 ).'menu will open…only now it is twice as wide, because there are twice as manyB&1&%,.,1' &9&)*&0*,W



OP '$+!$,' – '-./01 ).2 – USER’S MANUAL

ORORP #8DED-1 . "0>-8 3@:C:E TDE<D- &>/ED Y08:

"#, *)'. B)3.51,7 &0$9, '#$E' 1$5+#*M JL B&1&%,.,1' \$1 ,&3# B*5+U)- E#)3# M$5 #&9, &.M$51 7)'B$'&* whether you ‘own’ the plugU)- $1 -$.W 6-7 &' E).# F$5-7 %$7,X M$5 E)**#&9, &33,'' .$ &** $\ .#, B&1&%,.,1' $\ & +)9,- 61.51)& B*5+U)- )\ .#, \5** 9,1')$- $\ .#&.B*5+U)- #&' 0,,- &5.#$1)^,7 \$1 5', $- M$51 3$%B5.,1W

I#,- .#&. )' .#, 3&',X &' .#, 351'$1 #$9,1' $9,1 .#, B*5+U)- B)3.51, )-')7, .#, G&1.window it will become “illuminated” like the one at the top of the picture below:

$2, &%4 4/.7D0) 1() 9, ,>0&,>

($50*,U3*)3@)-+ $- .#, B)3.51, \$1 &- &5.#$1)^,7 B*5+U)- E)** $B,- .#, \5** 9,1')$- )- &** ).'+*$1MX &**$E)-+ 5-\,..,1,7 &33,'' .$ ,9,1M B&1&%,.,1W

ORORS

#8DED-1 . &>/ED

\G\G#Ga F2()70)7 &2, B%.)> (**07),> &% &2, I('&

So far we’ve mostly focused on the higherU*,9,* \5-3.)$-' $\ ',*,3.)-+ &-7 '$1.)-+ :5*.)'W25. M$5 %&M #&9, -$.)3,7 .#&. &0$9, .#, G1,',. *)'. &-7 .#, 9&1)$5' '$1.)-+ 3&.,+$1),'that the word “Sound” is visible beneath the “Connect” button. This is known as theF$5-7 .&0W R\ M$5 3*)3@ $- .#, F$5-7 .&0 .#, ,-.)1, *)'. $\ F$5-7' \1$% F$5-7 %$7,0,3$%,' 9)')0*,W "#)' )' #$E )-7)9)75&* F$5-7' &1, ',*,3.,7 \$1 B*&3,%,-. )-')7, & :5*.)W

S%&,? Z%. 1() *%'& &2, B%.)> 4',*,& /0*& 0)*0>, &2, B%.)> &(9 %+ K./&0 3%>, 9- 1/01J0)7%) &2, 1%/.3)* b.*& (* -%. =%./> 0) B%.)> 3%>,G

F,*,3. & F$5-7 \1$% .#, F$5-7 .&0 B1,',. *)'. &-7 71&+ ). $9,1 .$ .#, G&1. S F$5-7 -&%,E)-7$E &-7 71$B ). .#,1,W "#&. F$5-7 E)** -$E 0, *$3&.,7 )-')7, .#, :5*.) &' G&1. SW

/,B,&. .#)' B1$3,'' .$ 71&+ &-7 71$B & F$5-7 $-.$ G&1. J &-7 -$E .#, :5*.) )' \5**M*$&7,7 E).# -,E F$5-7' &-7 1,&7M \$1 \51.#,1 ,7).)-+W

\G\G#G` I('& 4('(3,&,'*? 8,:,/5 I() ()> TM

Looking at the screen shot below, let’s go leftU.$U1)+#. .#1$5+# .#, 0&')3 B&1&%,.,1' .#&.&1, &9&)*&0*, \$1 & G&1. E).#)- & :5*.)W /,%,%0,1 .#&. ,&3# $\ .#,', B&1&%,.,1' )'&9&)*&0*, \$1 0$.# G&1. S &-7 G&1. JZ



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL OS

):X:/Z 67]5'.' .#, 9$*5%, $\ $-, G&1. E).#$5. &\\,3.)-+ .#, $.#,1 G&1.

3.-Z 8#&-+,' .#, B$').)$- $\ .#, G&1. )- .#, '.,1,$ \),*7

Ha ":-8 'Z :)aZ 67]5'.' .#, )-B5. *,9,* $\ .#, G&1. )-.$ Ni F,-7 6

G1, [ G$'.Z FE).3#,' .#, Ni F,-7 \1$% B1,U\&7,1 .$ B$'.U\&7,1

Ha ":-8 IZ :)aZ 67]5'.' .#, )-B5. *,9,* $\ .#, G&1. )-.$ Ni F,-7 2

G1, [ G$'.Z FE).3#,' .#, Ni F,-7 \1$% B1,U\&7,1 .$ B$'.U\&7,1

7DB: Z 8*)3@ .#, 7)3, .$ *$&7 & 1&-7$% '$5-7W

Note: there’s a red line surrounding the Part 1 parameters and a yellow line surrounding&2, I('& ` 4('(3,&,'*G $20* 1%/%'D1%>0)7 *12,3, 0* .*,> =2,),:,' 4%**09/, 0) K./&03%>, &% 2,/4 -%. J)%= (& ( 7/()1, =2012 I('& -%. (', ,>0&0)7G

\G\G#G_ I('& 4('(3,&,'*? KRVR ()> B4/0&

2,*$E .#, G&1. J B&1&%,.,1' )' .#, ',3.)$- .#&. &**$E' M$5 .$ ',. 3,1.&)- :R(RB&1&%,.,1' \$1 ,&3# G&1.W 6' E).# .#, *)-,' &1$5-7 .#, G&1. E)-7$E'X 1,7 +1&B#)3' &-7.,a. 1,B1,',-. G&1. S B&1&%,.,1' E#)*, .#, M,**$E +1&B#)3' &-7 .,a. 1,B1,',-. G&1. JB&1&%,.,1'W

Let’s go leftU.$U1)+#. &+&)- &' E, 7,'31)0, .#, B&1&%,.,1' )- .#, B)3.51, &0$9,W H,,B )-%)-7 .#, B&1&%,.,1' &1, .#, '&%, \$1 G&1.' S &-7 JZ

).9:@: To reset the split points of the Parts so they’re both full range, click the<&M,1 05..$- &0$9, .#, #)+#,'. @,M' $\ .#, :R(R &-7 FB*). @,M0$&17 +1&B#)3W "#,1,7 &-7 M,**$E 0&1 +1&B#)3' E)** ,aB&-7 .$ .#, \5** *,-+.# $\ .#, @,M0$&17 +1&B#)3W

)0T_KD1<Z 8*)3@ $-, $\ .#,', \),*7' &-7 71&+ ).' 9&*5, #)+#,1 $1 *$E,1 .$ ',. .#,MIDI note range of the Part. You’ll see the red or yellow bar graphics change)-')7, .#, :R(R &-7 FB*). @,M0$&17 +1&B#)3 &' .#, 9&*5,' 3#&-+,W

G<.-Z P&3# G&1. 3&- #&9, ).' $E- :R(R 8#&--,* ',..)-+W "#, 7,\&5*. 9&*5, )' 6<<W

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'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL OZ

2ut in other cases, such as when there’s a bass sound on the left side and a piano sound$- .#, 1)+#.X M$5 %&M E&-. .$ 'B*). .#, 3$-.1$*' '$ .#, G).3# 0,-7 &-7 :$75*&.)$-3$-.1$*' &1, &'')+-,7 .$ .#, 0&'' E#)*, .#, '5'.&)- B,7&* 3$-.1$*' .#, B)&-$W

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"$ 3#&-+, .#,', ',..)-+'X 3*)3@ $- $-, $\ .#, 0$a,'W 6 E#)., 0$a %,&-' .#, 3$-.1$* #&'0,,- ,-&0*,7f &- $5.*)-,7 0$a %,&-' .#, 3$-.1$* #&' 0,,- 7)'&0*,7W

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"#,', @-$0' &**$E M$5 .$ &7]5'. .#, $5.B5. *,9,*' $\ ,&3# Ni F,-7W 8*)3@ $-, &-7 %$9,it; you’ll see the values change. These par&%,.,1 9&*5,' &1, '.$1,7 E).# .#, :5*.)W

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c$5 %&M #&9, -$.)3,7 )- .#, B)3.51, &0$9, .#&. +1$5B,7 E).# .#, :&'.,1 /,.51- 6 &-7/,.51- 2 3$-.1$*' )' &-$.#,1 @-$0 *&0,*,7 :&'.,1W "#)' B&1&%,.,1 )' *)-@,7 .$ .#, :&'.,1D$*5%, 3$-.1$* -,a. .$ .#, G).3# 0,-7 &-7 :$7 3$-.1$*'f E#,- M$5 %$9, .#, $-, 3$-.1$*the other will move as well. It has been placed inside the Multi’s Master section forconvenience so you won’t have to move the cursor over to the left side of the virtual

3$-.1$**,1 E#)*, &7]5'.)-+ .#, $5.B5. $\ .#, :5*.)W

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If you modify a ‘Factory’ Multi, the save button is not enabled so that you will not writeover the existing multi. To save a modified multi, click ‘Save As’ and the following screenshows up. If you modify a ‘User’ Multi, then the ‘Save’ button )' ,-&0*,7 &-7 M$5 3&-'&9, M$51 3#&-+,'W



P[ '$+!$,' – '-./01 ).2 – USER’S MANUAL

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"#, h,-1, *&0,* &**$E' M$5 .$ \*&+ & :5*.) &' & +$$7 $-, .$ 5', \$1 & B&1.)35*&1 '.M*, $\%5')3W When you are saving a Multi you will see a field called ‘Music Genre’; click in the*)'. .$ .#, 1)+#. $\ .#&. &-7 & 71$BU7$E- %,-5 E)** '#$E M$5 .$ \$**$E)-+ h,-1, 3#$)3,'Z

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Once you’ve entered the details for the Multi, click the Save button. If you decide youE&-. ,a). .$ %&@, %$1, 3#&-+,' .$ .#, :5*.) B&1&%,.,1' \)1'.X 3*)3@ 8&-3,*W



'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL PQ

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The sounds provided with Analog Lab are ‘Factory’ thus cannot be modified. If you

modified the sounds of a ‘Factory’ Multi that you want to save, then you must create new'$5-7'W "#,M E)** .#,- 0, *)'.,7 )- F$5-7 :$7,W

"$ '&9, .#, F$5-7 $\ .#e Part 1, check the ‘Save Part 1 Sound As …” checkbox and edit

its new name. To save the Sound of the Part 2, check the ‘Save Part 2 Sound As …’ and,7). ).' -&%,W

If the check boxes are unchecked, the ‘Factory’ Sounds will be used instead.

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So if you’d like to start your own Multi, click the ‘New’ button in the tool bar:

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Note: the ‘New’ button is only active in Multi mode.

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R\ .#,1, &1, B&1.)35*&1 3$-.1$*' $- &- ,a.,1-&* OF2 :R(R 3$-.1$**,1 .#&. M$5 E$5*7 *)@, .$&'')+- .$ $-, $\ .#, 9)1.5&* 3$-.1$*' )-')7, :5*.) %$7,X .#&. )' ,-.)1,*M B$'')0*,W A5'. 3*)3@the MIDI button in the tool bar and they’ll become another color, indicating that they areE&).)-+ \$1 M$5 .$ %&@, & ',*,3.)$-W

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P* '$+!$,' – '-./01 ).2 – USER’S MANUAL

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S%&, &2(& &2, J)%9* ()> */0>,'* 0) &2, F%)&'%/* *,1&0%) %+ &2, :0'&.(/ J,-9%('> 2(:, (/*%,)&,',> KRVR (**07)3,)& 3%>,G $2,*, 1%)&'%/* (', *2(',> (3%)7 (// &2',, 3%>,*5 *% 9,

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3@[email protected] &.AZ "#)' )' .#, %&)- \$35' $\ <)9, %$7,W (1&+ &-7 71$B :5*.)' &-7F$5-7' .$ .#, G1$+1&% :&B )- .#, 7,')1,7 $17,1 '$ .#,M 3&- 0, 3&**,7 5B 5')-+:R(R G1$+1&% 8#&-+, -5%0,1'W

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'$+!$,' – '-./01 )[email protected]@9 – USER’S MANUAL P;

$2, I'%7'(3 K(4 0) 80:, 3%>, 1() .*, ,0&2,' K./&0* %' B%.)>*

We’ll select a Sound first, so 3*)3@ $- .#, F$5-7 .&0 .$ 9),E .#, F$5-7 %$7, G1,',. *)'.W

"#, 9),E $- .#, *,\. ')7, $\ .#, E)-7$E '#$5*7 0, \&%)*)&1Z ). *$$@' ,a&3.*M *)@, F$5-7:$7,W "#, (&.& N)*.,1' E)-7$E )' -$. &9&)*&0*,X 05. ). )' B$'')0*, .$ '$1. .#, G1,',. *)'. 0M3*)3@)-+ $- .#, 3&.,+$1M 3$*5%-' =G1,',. ;&%,X "MB,X ,.3W> &' M$5 E$5*7 )- F$5-7%$7,W

F$ \$1 ,a&%B*,X )\ M$5 @-$E .#, O',1 B1$+1&% M$5 &1, *$$@)-+ \$1 E&' 31,&.,7 5')-+ .#,

8FUCL D B*5+)-X M$5 %)+#. E&-. .$ 3*)3@ $- .#, R-'.15%,-. 3&.,+$1M &-7 .#,- '31$**.#1$5+# .#, *)'. 5-.)* M$5 1,&3# .#, +1$5B $\ 8FUCL D B1$+1&%'W c$5 '#$5*7 0, &0*, .$\)-7 .#, O',1 B1$+1&% \&)1*M 45)3@*M &\.,1 .#&.W

Once you’ve found .#, F$5-7 M$5 E&-.X 3*)3@ $- ).' -&%, &-7 71&+ ). $9,1 .$ .#,G1$+1&% :&B E)-7$E $- .#, 1)+#. ')7, $\ .#, <)9, %$7, '31,,-Z

"#)' &3.)$- #&' B*&3,7 FM-3#1$u2&'' &. .#, .$B $\ .#, G1$+1&% :&BW ;$E E#,- M$5 E&-..$ ',*,3. .#&. F$5-7 \1$% &- ,a.,1-&* :R(R '$513, $1 & (6IX ]5'. %&@, '51, 6-&*$+ <&0)' )- <)9, %$7, &-7 ',-7 ). :R(R G1$+1&% 8#&-+, rSW FM-3#1$u2&'' E)** 0, ',*,3.,7W

"$ &77 &-$.#,1 ).,% .$ G1$+1&% :&B '*$. rJX ,).#,1 71&+ &-$.#,1 F$5-7 \1$% .#, F$5-7*)'. $1 'E).3# )-.$ .#, :5*.) 3&.,+$1M )- .#, G1,',. F,*,3.)$- E)-7$E &-7 ',*,3. & :5*.)Wc$5 3&- '$1. .#, :5*.) E)-7$E &33$17)-+ .$ ).' 3&.,+$1),'X &*'$W

Once you’ve located the right Multi, drag it over to the secon7 '*$. )- .#, G1$+1&% :&B*)'. &-7 71$B ).W :R(R G1$+1&% 8#&-+, rJ E)** ',*,3. .#&. ).,%X &-7 '$ $-W

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[,3,39,'? N2,) *=0&120)7 +'%3 %), &-4, &% &2, ),U&5 K./&0* 1() &(J, ( /0&&/, /%)7,' &%

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PN '$+!$,' – '-./01 ).2 – USER’S MANUAL

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R- &77).)$-X 3*)3@)-+ .#, .$$*0&1 (,*,., 05..$- E)** ,1&', &** .#, *)9, B1$+1&%' \1$%.#, <)9,:&BW

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"#, <)9, G1$+1&%' &1, &33,'')0*, .#1$5+# .#, DF"Y *)'. $\ B1,',.' B1$9)7,7 0M 6-&*$+Lab. In other words, you can select the live programs from DAWs’ preset selection.

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R- 3$-')7,1&.)$- $\ B&M%,-. $\ .#, <)3,-',, \,,X E#)3# )' & B$1.)$- $\ .#, B1)3, M$5 B&)7XArturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right

.$ 5', .#)' 3$BM $\ .#, 6-&*$+ <&0 program (hereinafter the “SOFTWARE”).

6** )-.,**,3.5&* B1$B,1.M 1)+#.' )- .#, '$\.E&1, 0,*$-+ .$ 61.51)& F6 =#,1,)-&\.,1Z “Arturia”). Arturia permits you only to copy, download, install and use the software in&33$17&-3, E).# .#, .,1%' &-7 3$-7).)$-' $\ .#)' 6+1,,%,-.W

"#, B1$753. 3$-.&)-' B1$753. &3.)9&.)$- \$1 B1$.,3.)$- &+&)-'. 5-*&E\5* 3$BM)-+W "#)''M'.,% )' @-$E- &' ,<)3,-',1 &-7 B,1%).' & B,1%&-,-. 5', $\ .#, '$\.E&1, $-*M &\.,1

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