USER MANUAL ARTURIA – Stage-73 V – USER MANUAL 1
Direction Frédéric Brun Kevin Molcard Development Samuel Limier (project manager) Pierre Pfister (lead) Stefano D'Angelo Baptiste Aubry Corentin Comte Baptiste Le Goff Pierre-Lin Laneyrie Valentin Lepetit Germain Marzin Mathieu Nocenti Benjamin Renard Design Glen Darcey Yannick Bonnefoy Morgan Perrier Sebastien Rochard Greg Vezon Sound Design Jean-Baptiste Arthus Jean-Michel Blanchet Marion Demeulemeester Boele Gerkes Christian Laffitte Victor Morello Manual Randy Lee Tomoya Fukuchi Léonard Sauget
Table of contents 1 2 3 INTRODUCTION .............................................................................................................. 5 1.1 What is Stage-73 V? .............................................................................................. 5 1.2 History of the original instrument ......................................................................... 5 1.3 The road to fame .................................................................................................
3.4.2 3.5 Advanced features............................................................................................. 32 3.5.1 Harmonic profiles .......................................................................................... 33 3.5.2 Physical components ................................................................................... 33 3.5.3 Tone Bar resonance ..................................................................................... 34 3.5.4 Pickup distance ............
1 INTRODUCTION Thank you for purchasing our virtual electric piano, Stage-73 V! We are certain it will give you many hours of inspiration and enjoyment. Stage-73 V is the newest addition to our extensive family of instruments that recreate hard-to-find classic keyboards and synths.
While much lighter than conventional acoustic pianos, these early electric pianos still weighed hundreds of pounds due to their soundboards. The quest for greater portability led to the development of new electromechanical assemblies that used metal bars or rods to generate a tone, which was in turn captured by a pickup and fed to an amplified speaker. The sound of an electric piano was a vast departure from that of an acoustic piano, but it became increasingly popular in the studio and on the stage.
minimal processing. Its relatively compact size ensured that bands, studios and rehearsal rooms would want to have one, and it began to enjoy common use on musical recordings and in live performances.
Harmonic profiles: Dark, Bright, Basic, Noisy, and Harmonic boost Velocity curve shaping and presets Stomp-box effects units with variable routing order: o Chorus o Flanger o Phaser o Analog Delay o Auto-wah o Compressor o Overdrive Output routing: direct or through a modeled amplifier ARTURIA – Stage-73 V – USER MANUAL 8
2 ACTIVATION & FIRST START Stage-73 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 Stage-73 V as an Audio Units, AAX, VST2 or VST3 instrument. 2.1 Register and Activate Once Stage-73 V has been installed, the next step is to register the software. The registration process will require you to enter the serial number and the unlock code you received with the product.
Stage-73 V main menu You will then see the Audio MIDI settings window. This works in the same way on both Windows and Mac OS X, although the names of the devices available to you will depend on the hardware you are using.
Starting from the top you have the following options: Device lets you choose which audio driver you want to use to route sound out of the instrument. This might be your computer’s own driver like Windows Audio, or an ASIO driver. The name of your hardware interface may appear in this field. Output Channels lets you select which of the available outputs will be used to route audio out. If you only have two outputs, only two will appear as options.
OS X Audio and MIDI settings window 2.2.
Stage-73 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. You can automate numerous parameters using your DAW’s automation system. You can use more than one instance of Stage-73 V in a DAW project. In standalone mode you can only use one at once.
3 USER INTERFACE Stage-73 V is packed with great features, and in this chapter we’ll make sure you know what each one does. We think you’ll be amazed by the huge range of sounds that can be made with this instrument. And while Stage-73 V is very flexible, there’s nothing complicated about it. That will always be the main focus of every Arturia product: to unleash your creativity while remaining easy to use. 3.
The Save Preset window 3.2.2 Save Preset As… This works in the same way as the Save command, but lets you save a copy of the preset instead of saving over the original. It’s useful for creating variations on patches but still keeping individual copies of each one. 3.2.3 Import Preset This command lets you import a preset file, which can be either a single preset or an entire bank of presets. Both types are stored in the stagex format.
The Import Preset menu 3.2.4 Export Preset You can export and share a single preset using this command. The default path to these files will appear in the window, but you can create a folder at another location if you like. 3.2.5 Export Bank This option can be used to export an entire bank of sounds from the instrument, which is useful for backing up or sharing presets.
3.2.6 Resize Window options The Stage-73 V window can be resized from 60% to 200% of its original size without any visual artifacts. On a smaller screen such as a laptop you might want to reduce the interface size so it doesn’t dominate the display. On a larger screen or a second monitor you can increase the size to get a better view of the controls. The controls work the same at any zoom level but the smaller ones can be harder to see at the smaller magnification values. The Resize Window menu 3.2.
The Preset Browser 3.2.9 Open / close Advanced section The Advanced section can be revealed by clicking on the button with the two downward arrows at the right of the toolbar. This lets you access the more advanced features of the instrument like Pickup distance and the velocity curve editor. See section 3.5 of the manual for more detail on these controls. Click this button once to reveal the inside of the instrument and again to hide it.
3.2.10 MIDI Learn assignment The MIDI plug icon at the far right side of the toolbar places the instrument into MIDI learn mode. Parameters that can be assigned to MIDI controls will be shown in purple, and the idea is that you map physical buttons, knobs, faders or pedals from hardware MIDI controllers to specific destinations inside the instrument.
3.2.10.1 Assigning / unassigning controls If you click on a purple area you’ll put that control into learning mode. Move a physical knob or fader and the target goes red, indicating that a link has been made between the hardware control and the software parameter. There’s a popup window that displays which two things are being linked and a button to unassign the two from each other. Phaser switch selected and assigned 3.2.10.
This can be a great feature when controlling things like volume, filter, or effect controls, since you won’t usually want them to jump noticeably from their current setting when they are modified. 3.2.10.4 Reserved MIDI CC numbers Certain MIDI Continuous Controller (MIDI CC) numbers are reserved and cannot be reassigned to other controls.
3.2.12 The lower toolbar At the left hand side of the lower toolbar you will see a readout showing the value or state of whatever control you are modifying. It will also display the current value of a parameter without editing it: just hover the cursor over the related control and the value will appear as pictured below. Displaying the current control’s value At the right hand side of the lower toolbar are three small windows. The first one on the left indicates the current MIDI Channel setting.
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. The CPU meter is used to monitor how much of your computer’s CPU is being used by the instrument. 3.3 The Preset browser The preset browser is how you search, load and manage sounds in Stage-73 V. It has a couple of different views but they all access the same banks of presets.
3.3.2 Using tags as a filter You can also search using different tags. So for example by clicking on the Suitcase option in the Types field you can show only presets that match that tag. The tag fields can be shown or hidden by using the small down arrow buttons in their title fields. Results columns can be sorted by clicking the same arrow button in their own section. You can use multiple search fields to perform narrower searches.
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. 3.3.3 The Preset Info section The Info column on the right of the search field shows you information about any preset. The information for User presets may be changed here: Name, Type, Favorite, etc.
3.3.4 Preset selection: other methods 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 searched for “Love” in the main search area, the results of that search will appear here.
Selecting a preset by its Type Clicking on the name field in the center of the toolbar will show you a list of all available presets. The list will also take into account any selections you have made in the Search field. So if you have pre-selected a Characteristic such as “Funky” this shortcut menu will only show you presets that match that tag.
3.3.5.1 Add a playlist 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. 3.3.5.2 Add a preset You can use all of the options in the Search window to locate the presets you want to have in your playlist. Once you have found the right preset, click and drag it onto the playlist name.
To view the contents of a playlist, click on the playlist name. 3.3.5.3 Re-order the presets Presets may be reorganized within a playlist. For example, to move a preset from slot 2 to slot 4, drag and drop the preset to the desired location. This will move the preset into the new location. 3.3.5.4 Remove a preset To delete a preset from a playlist, click the x at the end of the preset row. Click the X to remove a preset from a playlist 3.3.5.
controls of each model, but they have the identical features ‘under the hood’ in the Advanced section. It’s important to know that there is more to each model than its appearance. Variations in the features were often accompanied by modifications to the signal path, or the hardware, or both. We have painstakingly modeled every nuance of every version of these instruments, from the pre-amps to the hammers, from the tremolo to the sound board. 3.4.
3.4.1.3 Volume This knob serves as the master volume control of the pre-amp. At its higher settings it will overdrive the amplifier slightly, just like the original instrument. 3.4.1.4 Treble / Bass controls These sliders allow you to cut or boost the high and low frequencies of the output signal. 3.4.1.5 Vibrato switch / Intensity / Speed The “vibrato” is actually a tremolo effect because it alters the amplitude of the signal, not the pitch.
controls between the two, the major difference is actually in the circuitry being modelled. We took great care to recreate the characteristics of both. 1973 and earlier 1974 and later 3.4.2.1 ’73 / ’74 switch Click this switch to toggle between the ’73 controls and the ’74 controls. 3.4.2.2 Tone (’73 and earlier) The Tone control is present only in the ’73 version. It is a multi-band EQ which cuts and boosts the high and low frequencies at the same time. 3.4.2.
The controls are the same for both the Stage and Suitcase models. 3.5.1 Harmonic profiles The process of modelling an instrument in software produces complex equations representing each aspect of the sound of that instrument. Once we have isolated the components of the sound we are able to emphasize, de-emphasize, and even remove individual components. This makes it possible to create harmonic profiles that sound very different from one another but are still based on the same instrument.
3.5.3 Tone Bar resonance This parameter adjusts the sustain time of the tines by simulating changes in the characteristics of the metal tone bars. A more resonant tine will sustain longer, while a less resonant tine will not sustain as long. 3.5.4 Pickup distance The distance of the pickups from the tines has an effect on its output level and a slight impact on its tone. 3.5.5 Tuning The entire instrument can be tuned flat or sharp by as much as 1.5 semitones with this control. 3.5.
3.5.10 Hammer noise This parameter controls the relative level of noise generated by the hammers when they strike the tines. The combined use of this and the Hammer hardness parameter can result in a tone completely devoid of hammer noise or completely dominated by it. 3.5.11 Velocity curve When the Advanced button is clicked a simulated touch-screen tablet appears below the keyboard. This is the velocity curve editor.
The Velocity Curve menu A check mark next to a preset curve indicates that it is the currently selected curve. Click on a different curve name to select that curve. The menu will close and the new curve will appear in the editor window. If you have edited a velocity curve and would like to save it, use the Save As option and follow the prompts. After you name it and save it, your new curve will appear in the Velocity Curve Presets list in alphabetical order.
Here are some important things to remember about editing velocity curves: There can be as many as 5 velocity points but no fewer than 2. The first and fifth points can only be edited vertically and cannot be removed. The three middle points can be placed anywhere within the X/Y grid. The three middle points can be removed and added again. Using a combination of these features, it is possible to create an infinite number of velocity curves. Here are three examples: Cross-switch low 3.
3.6.1 On Axis The placement of a microphone can have a significant effect on the sound of an instrument. This switch selects one of two positions for the modelled microphone (an SM-57): on-axis or off-axis. On-axis models the sound of the microphone pointing straight at the amp, and offaxis emulates the effect of having the microphone pointed at an angle. The on-axis setting tends to emphasize the fundamental frequencies, while the offaxis setting de-emphasizes them. 3.6.
produce a tone with more distortion, use lower values on this control and higher values on the Volume knob. 3.6.8 Amplifier On / Off When the amplifier is enabled this light will turn red, indicating that the amp has been placed in the signal path. When it is dark the light will turn off, which means the output of the instrument will be routed directly into your DAW. 3.7 The effects The effects come between the instrument and the amplifier in both the Suitcase and Stage versions of the piano.
3.7.1 Flanger Flanging works by mixing two identical signals together, with one signal delayed by a small and gradually changing period. This produces a swept “comb filter” effect. The controls for the effect are: Delay amount Effect Depth Rate Resonance 3.7.2 Phaser Phase shifting is a sweeping effect that was first popularized in the 1960s. It adds motion and a swirling character to the sound.
Stereo spread 3.7.3 Chorus A Chorus effect is similar to a flanger in that it also splits the signal, delays one side, varies the delay time gradually, and mixes the two signals back together. The difference is that the length of the delay time is longer than that of a flanger, which results in a more subtle but still very interesting effect.
3.7.4 Analog Delay A delay can increase the spaciousness of a sound without making the sound “swim” the way some reverbs do. It can also be used as a rhythmic counterpoint to accentuate a groove. The controls are: Delay Time Feedback Tone Feedback Amount Dry / Wet Mix LFO Rate LFO Depth 3.7.5 Compressor A compressor is generally used to help maintain a consistent level of sound, though there are many other ways to use one.
For example, it can keep the attack transients of a sound from overloading the input of the next effect. It can also help a sound which would normally decay quickly not to fade away as quickly. The controls are: Input level Threshold Ratio Attack rate Release rate Makeup gain 3.7.6 Overdrive Overdrive will add anything from a slight amount of grit to flat-out distortion to a sound. The controls are: Drive Amount Output Level Drive Tone 3.7.
3.7.7.1 Volume pedal The volume pedal controls the output level of the piano before sound is passed to the effect pedals or the amplifier. You can use the MIDI assignment feature to map this virtual volume pedal to a real hardware expression control or volume pedal in order to have a more authentic playing experience when triggering Stage-73 V from your MIDI keyboard. 3.7.7.2 Wah pedal The Wah pedal looks the same as the volume pedal but controls the harmonic content of the sound instead of the volume. 3.7.
Threshold Modulation depth Automatic rate ARTURIA – Stage-73 V – USER MANUAL 45
4 END USER LICENSE AGREEMENT 1. General 1.1 In consideration of payment of the Licensee fee, which is a portion of the price you paid, Arturia, as Licensor, grants to you (hereinafter termed “Licensee”) a nonexclusive right for the use of software including related media, documentation (for example program descriptions, manuals) and other documents and materials manufactured by Arturia SA ("Product(s)"). All intellectual property rights in the software belong to Arturia SA (hereinafter: “Arturia”). 1.
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