USER’S MANUAL

PROGRAMMING:

Thomas Diligent
Robert Bocquier
Adrien Courdavault

SOUND DESIGN:

Michael Hosker (All)

Ted James (Jupiter8V)
Matthew Sevant (ProphetV)
Knowlton Walsh (MiniV)
Matt Sterling (Arp 2600V)
Ted James (CS80V)

INDUSTRIALIZATION :

Nicolas Dubois
Zhao Yitian (CME)

MANUAL:

Randy Lee
Pierce Warnecke
Tomoya Fukushi
Noritaka Ubukata
Antoine Back

DESIGN:

Shaun Ellwood
Morgan Perrier

© ARTURIA SA – 1999-2013 – All rights reserved.

4, Chemin de Malacher
38240 Meylan
FRANCE
http://www.arturia.com

2 ARTURIA – Analog Lab – USER’S MANUAL

Information contained in this manual is subject to change without notice and does not represent a commitment
on the part of Arturia. The software described in this manual is provided under the terms of a license
agreement or non-disclosure agreement. The software license agreement specifies the terms and conditions for
its lawful use. No part of this manual may be produced or transmitted in any form or by any purpose other
than purchaser’s personal use, without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are trademarks or registered trademarks of
their respective owners.
April 2013 edition

ARTURIA – Analog Lab – USER’S MANUAL 3

 Thank you for purchasing Arturia’s
Analog Lab!

This manual covers the features and operation of Arturia’s Analog Lab, a software
synthesizer that allows you to play and modify over 5,000 sounds.
After the purchase of this software you will receive its serial number and an unlock code
by e-mail. This information enables you to register the software online.
Once you have registered your software you will receive an activation code by e-mail
that will allow you to authorize the software for use on your computer.
For details regarding the registration and authorization processes, see Chapter 3.

Special Message Section

SPECIFICATIONS SUBJECT TO CHANGE:

The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications without
notice or obligation to update existing software installations.

IMPORTANT:
The product used in combination with an amplifier, headphones or speakers, may be
able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable.

If you encounter any hearing loss or ringing in the ears, you should consult an
audiologist.

NOTICE:
Service charges incurred due to a lack of knowledge relating to how a function or feature
works (when the software is operating as designed) are not covered by the
manufacturer’s warranty, and are therefore the owner's responsibility. Please study this
manual carefully and consult your dealer before requesting service.

PRECAUTIONS INCLUDE, BUT ARE NOT LIMITED TO, THE FOLLOWING:

1. Read and understand all the instructions.
2. Arturia is not responsible for any damage or data loss caused by improper
operation of the software.

4 ARTURIA – Analog Lab – USER’S MANUAL

 Table of Contents
1 INTRODUCTION ........................................................................................................................................ 7
1.1 HISTORY .................................................................................................................................................. 7
1.2 HERE AND NOW....................................................................................................................................... 8
1.3 TAE® ...................................................................................................................................................... 8
1.3.1 Aliasing-free oscillators .................................................................................................................. 8
1.3.2 A better reproduction of analog oscillator waveforms ................................................................... 9
1.3.3 Direct Filter Circuit Modeling...................................................................................................... 10
2 INSTALLATION........................................................................................................................................ 12
2.1 SYSTEM REQUIREMENTS ........................................................................................................................ 12
2.1.1 REQUIRED MINIMUM CONFIGURATION: .............................................................................. 12
2.1.2 PLATFORM SPECIFICATIONS: ................................................................................................. 12
2.2 WINDOWS INSTALLATION (XP/VISTA/7/8) .......................................................................................... 12
2.3 MAC OS X INSTALLATION ..................................................................................................................... 14
3 AUTHORIZATION ................................................................................................................................... 15
3.1 REGISTRATION ...................................................................................................................................... 15
3.1.1 Log in or create a new user account ............................................................................................. 16
3.1.2 If all else fails… ............................................................................................................................ 19
3.2 ENTERING ACTIVATION CODE INTO ELICENSER ..................................................................................... 20
4 ANALOG LAB QUICK START ............................................................................................................... 23
4.1 AUDIO & MIDI SETUP ........................................................................................................................... 23
4.1.1 Audio setup ................................................................................................................................... 23
4.1.2 MIDI setup .................................................................................................................................... 24
4.2 SOUND MODE QUICK START ................................................................................................................. 24
4.2.1 Select a preset ............................................................................................................................... 24
4.2.2 Filtering and sorting the Preset list .............................................................................................. 25
4.2.3 Modify a preset ............................................................................................................................. 28
4.2.4 Saving a User preset ..................................................................................................................... 29
4.3 WINDOW MANAGEMENT ........................................................................................................................ 30
4.3.1 Click and resize ............................................................................................................................. 30
4.3.2 Scroll bars..................................................................................................................................... 30
4.4 TAKING A SNAPSHOT ............................................................................................................................. 31
4.5 MULTI MODE QUICK START .................................................................................................................. 32
4.5.1 Select a Multi preset ..................................................................................................................... 32
4.5.2 Changing a Sound within a Multi ................................................................................................. 34
4.5.3 Saving an edited Multi as a User program ................................................................................... 34
4.5.4 Start a Multi from Scratch ............................................................................................................ 35
4.6 LIVE MODE QUICK START ..................................................................................................................... 35
5 USING ANALOG LAB .............................................................................................................................. 37
5.1 CONFIGURATION ................................................................................................................................... 37
5.1.1 General options ............................................................................................................................ 37
5.1.2 Arturia Plug-ins ............................................................................................................................ 38
5.1.3 Audio & MIDI Settings ................................................................................................................. 38
5.2 TOOL BAR ............................................................................................................................................. 40
5.3 VIRTUAL KEYBOARD ............................................................................................................................. 41
5.3.1 Virtual keyboard options .............................................................................................................. 41
5.3.2 Virtual keyboards: Common controls and features ...................................................................... 42
5.3.2.1 Master Volume.......................................................................................................................................... 42
5.3.2.2 Pitchbend and Modulation wheels / touch strips ....................................................................................... 42
5.3.2.3 Snapshots tab ............................................................................................................................................ 42
5.3.2.4 Pads tab ..................................................................................................................................................... 43
5.3.2.5 5-octave keyboard ..................................................................................................................................... 43
5.3.3 Virtual keyboards: To each its own control section ...................................................................... 44
5.3.4 Assignable MIDI control of parameters ....................................................................................... 45

ARTURIA – Analog Lab – USER’S MANUAL 5

 5.3.5 Exporting/Importing the MIDI Configuration (*.lab2midi) ......................................................... 46
5.4 SOUND MODE ........................................................................................................................................ 47
5.4.1 Instruments ................................................................................................................................... 48
5.4.2 Sound Types .................................................................................................................................. 49
5.4.3 Sound Characteristics ................................................................................................................... 50
5.4.4 Preset details ................................................................................................................................ 51
5.4.5 Editing a preset ............................................................................................................................. 51
5.4.6 Organization ................................................................................................................................. 53
5.5 MULTI MODE ........................................................................................................................................ 53
5.5.1 Multi Mode: an introduction......................................................................................................... 54
5.5.2 Sorting the Multis ......................................................................................................................... 55
5.5.3 Selecting a Multi ........................................................................................................................... 55
5.5.4 Multi mode: Preset details ............................................................................................................ 56
5.5.5 Parameter control assignments per Part ...................................................................................... 56
5.5.6 Editing a Sound Preset within Multi mode ................................................................................... 57
5.5.7 Editing a Multi .............................................................................................................................. 57
5.5.7.1 Changing the Sound assigned to the Part .................................................................................................. 57
5.5.7.2 Part parameters: Level, Pan and FX .......................................................................................................... 57
5.5.7.3 Part parameters: MIDI and Split ............................................................................................................... 58
5.5.7.4 Multi parameters: FX Sends A and –B...................................................................................................... 59
5.5.7.5 Multi parameters: Control Assign ............................................................................................................. 59
5.5.7.6 Multi Parameters: FX Returns A and –B .................................................................................................. 60
5.5.7.7 Global parameter: Master Volume ............................................................................................................ 60
5.5.8 Saving your edited Multi ............................................................................................................... 60
5.5.8.1 Name ......................................................................................................................................................... 61
5.5.8.2 Genre ......................................................................................................................................................... 61
5.5.8.3 Creator ...................................................................................................................................................... 61
5.6.1 Start a Multi from Scratch ............................................................................................................ 62
5.6.2 MIDI control of Multi mode parameters....................................................................................... 62
5.7 LIVE MODE ............................................................................................................................................ 63
5.7.1 Selecting a Preset for the Program Map ...................................................................................... 63
5.7.2 The Preset / Song Details window ................................................................................................ 65
5.7.2.1 Sound details ............................................................................................................................................. 65
5.7.2.2 Multi details .............................................................................................................................................. 65
6 ARTURIA ANALOG LAB – LEGAL INFORMATION ....................................................................... 66
6.1 SOFTWARE LICENSE AGREEMENT ......................................................................................................... 66

6 ARTURIA – Analog Lab – USER’S MANUAL

 1 INTRODUCTION

1.1 History

Early in 2001 Arturia began working on advanced algorithms for the digital emulation of
analog circuit audio characteristics. They are known as TAE®, standing for True Analog
Emulation. In non-technical language, this is an unprecedented way of analyzing and
recreating the analog circuits of the original product. Nearly a year after they began
work on the algorithms, Arturia was ready for feedback. At the 2002 NAMM show in
California, Arturia shared an early version of what would later be the Modular V
synthesizer. A recreation of the classic 60’s modular synthesizer that set the foundation
for all synths to come.
In seeking insight from sound production experts as well as avid synthesizer users,
Arturia was able to ensure the quality of the instruments they made.. The launch of this
sound powerhouse was an instant success, winning awards from several top magazines,
and leading to the development of other synth recreations.
Shortly thereafter, Arturia started receiving many requests from musicians, producers
and bands. Many of them explained how they were planning to replace their original
hardware synthesizers with virtual instruments. Artists around the globe were beginning
to see the advantages of a software alternative to hardware-based synthesizers.
The CS-80V emulated the legendary Yamaha CS-80, considered by many as "the
ultimate polyphonic" synthesizer, and was launched at the AES 2003 in New York.
ARP 2600V was launched at the Winter NAMM Show 2005 in Anaheim. This is a faithful
reproduction of the ARP 2600 and is great for just about any sound one might wish to
create: everything from drum n’ bass stabs to Star Wars’ R2-D2 sounds have been made
with the ARP.
At the Winter NAMM Show 2006, ARTURIA announced the release of its seventh product:
the Prophet V. This powerful hybrid gives you two instruments in one: it combines the
warmth of the legendary Prophet 5 programmable analog synth with the unique Vector
Synthesis textures of the digital Prophet VS.
At the summer 2007 NAMM Show Arturia launched the Jupiter-8V. The Jupiter-8V was
capable of creating very versatile sounds: You could easily make ‘fat’ or ‘crystal’ sounds
with it. In fact, Jupiter-8V sounded the way it looked: ‘sleek and polished’.
After Jupiter 8V came Oberheim SEM. Oberheim SEM brought the unique sound of the
constantly variable filter and oscillators that the original SEM had. By adding the 8 Voice
Programmer, it allowed the user to create one of most rare and expensive poly synths of
the 70’s, the Oberheim 8 voice. As usual we went beyond the original boundaries of the
product and added new sound and modulation capabilities that take the SEM far beyond
the original while maintaining the sound characteristics.
In 2012 Arturia launched its first venture into the classic electric piano products with the
release of Wurltizer V. Based on a physical modeling engine, it recreates the sound used
on many of the best albums ever. Once again we went a step beyond and allowed the
user access to the physical modeling parameters itself so that you could sculpt the sound
in ways never before possible.

ARTURIA – Analog Lab – USER’S MANUAL 7

 1.2 Here and Now

Analog Lab brings all of these classic instruments together into one software app. It
allows the user access to the sounds of all these great instruments that now are out of
reach for most to be able to purchase. With its simple but powerful browser and data
filtering, it makes finding the right sound quick and easy. The new MULTI page allows
you to create your own splits and layers of these powerhouse synths and keyboards with
simple drag and drop functionality. The LIVE page then allows you to organize your
SOUNDS and MULTIS so that you can recall them quickly via program change messages.
Analog Lab is more than just a sound library of the best analog keyboards; it is a
powerful sound design tool and live performance instrument that will become an integral
part of your everyday workflow.

1.3 TAE®

TAE® (True Analog Emulation) is Arturia's outstanding technology dedicated to the digital
reproduction of the analog circuits used in vintage synthesizers.
TAE®’s software algorithms result in spot-on emulation of analog hardware. This is why
Analog Lab, and all of Arturia’s virtual synthesizers, offer an unparalleled quality of
sound.
TAE® combines three major advances in the domain of synthesis:

1.3.1 Aliasing-free oscillators

Standard digital synthesizers produce aliasing in high frequencies, and also when using
Pulse Width Modulation (PWM) or Frequency Modulation (FM).
TAE® enables the generation of oscillators which are completely free of aliasing in all
contexts (PWM, FM…), and at no extra CPU cost.

Aliasing

67
Linear frequency spectrum of a current well-known software synthesizer

8 ARTURIA – Analog Lab – USER’S MANUAL

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

1.3.2 A better reproduction of analog oscillator waveforms

The waveforms produced by the oscillators in analog synthesizers are affected by the
presence of a capacitor in the circuits. The discharge of a capacitor results in a slight
‘bend’ in the original waveform (most notably for sawtooth, triangular and square
waveforms). TAE® reproduces the result of this capacitor discharge in software.
Below is the analysis of a waveform from one of the 5 original instruments that Arturia’s
software emulates, followed by one made by Analog Lab. They are both equally
deformed by the low-pass and high-pass filtering.

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

ARTURIA – Analog Lab – USER’S MANUAL 9

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

What’s more, the hardware analog oscillators were unstable. In fact, their waveform
varies slightly from one period to another. If we add to this the fact that the starting
point for each period (in Trigger mode) can vary with the temperature and other
environmental conditions, we see why vintage synthesizers have such a typical sound.
TAE® reproduces the instability of oscillators, resulting in a fatter and “bigger” sound.

1.3.3 Direct Filter Circuit Modeling

Due to advances in computer processing power, Analog Lab can now employ direct filter
modeling techniques to achieve unprecedented accuracy in the emulation of a hardware
synthesizer’s filter. By modeling the operation of the individual hardware components of
the filter circuit, the warm nuances synonymous with analog sounds are recreated.
The following graph shows a single example of direct circuit modeling in action. The
peaks represent the generation of harmonics at multiples of the resonant frequency
when a particular filter is in self oscillation mode. These harmonics are characteristic of
hardware synthesizer filters and are due to the non-linear behavior inherent to their
analog circuitry. Anomalies such as these add to the richness and warmth of the sound
produced by the filter.
But you’ll notice there are two lines on the graph: Those are the superimposed frequency
domain plots for both one of Arturia's virtual instruments and the hardware filter being
emulated. They are practically indistinguishable, both on the graph and to the human
ear. The direct recreation of this analog circuitry causes the same characteristics of the
sound to be present, thus giving the user a truly analog sound.

10 ARTURIA – Analog Lab – USER’S MANUAL

 Comparison of harmonics generated by the filter circuits in self oscillation
of Analog Lab and a hardware synthesizer

ARTURIA – Analog Lab – USER’S MANUAL 11

 2 INSTALLATION

2.1 System requirements

2.1.1 REQUIRED MINIMUM CONFIGURATION:

PC: 2 GB RAM; CPU 2 GHz (Multiple cores required)

Mac: 2 GB RAM; CPU 2 GHz (Multiple cores required)

2.1.2 PLATFORM SPECIFICATIONS:

Windows: XP/VISTA/SEVEN/EIGHT

Mac OS X: 10.6 or higher

2.2 Windows installation (XP/VISTA/7/8)

Download the installer file and double-click on the icon named Analog_Lab.exe.
The first step of the process requires you to read and accept the terms of the License
Agreement, after which you will choose the destination folder for the Analog Lab
installation. By default, it will be installed in this location:
C:\Program Files (x86)\Arturia\Analog Lab
You can select a different destination with the Browse button.

Choose the installation folder

12 ARTURIA – Analog Lab – USER’S MANUAL

On the next screen you will be asked to choose a set of installation folders for the 32-bit
and 64-bit versions of the Analog Lab VST plug-in. The default folders are the ones most
likely to be used by other plug-ins, but you may define other locations if you like.

Choose the locations of the VST plug-in installation folders

Analog Lab is installed as a standalone application by default; the following step lets you
choose whether to install it as a plug-in as well. To do so, click the boxes next to the
protocol(s) you wish to use (VST2.4, VST3 and/or RTAS). However, to ensure the
greatest degree of compatibility we recommend selecting all three installation options.

Choose the installation components

ARTURIA – Analog Lab – USER’S MANUAL 13

The installation program now has enough information to complete the installation. When
the installation process is complete, proceed to the authorization step (Chapter 3).

2.3 Mac OS X installation

Download the installer file and then double-click on the icon named Analog_Lab.dmg.
Follow these steps:
 Read and accept the End User License Agreement
 Select a destination.
When prompted, enter the administrator name and password of your computer in the
Installer window.

Installer window

Analog Lab will be installed automatically as a standalone application and also as VST2,
VST3, AU and RTAS plug-ins.
When the installation process is complete, proceed to the authorization step (Chapter 3).

14 ARTURIA – Analog Lab – USER’S MANUAL

 3 AUTHORIZATION

Now that Analog Lab has been installed you will need to authorize the software.
Analog Lab uses the Soft-eLicenser virtual dongle solution so as to avoid tying up a USB
port. This system enables the use of the synthesizer on one computer, which will need to
be connected to the Internet during the authorization process.

To transfer your license to another computer, or simply use Analog Lab on several computers (one instance
at a time), you will need:
* to use one USB-eLicenser hardware dongle (sold separately, also used by many other software editors);
* in the eLicenser Control Center, to drag-and-drop your license from Soft-eLicenser to USB-eLicenser.
This transfer, requiring a valid internet connection, can be done both ways:
* from Soft-eLicenser to USB-eLicenser;
* from USB-eLicenser to Soft-eLicenser.
Please check the eLicenser documentation installed on your computer for any further technical details.

3.1 Registration

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

ARTURIA – Analog Lab – USER’S MANUAL 15

Click the ‘Authorize’ button to proceed. The screen that follows contains a link to the
Arturia web site, where you have the option to sign into your existing Arturia account or
create a new one.
This next window will stay open while you go through the registration steps online; once
you’ve done that you’ll use it to proceed through the activation steps that follow.

3.1.1 Log in or create a new user account

If you already have an Arturia account setup, simply log in:

16 ARTURIA – Analog Lab – USER’S MANUAL

If you don’t have an Arturia account yet, please create one. When you do you will see
this form:

Once you are logged into your account, you can register Analog Lab and request your
activation code.
Go to the “My Registered Products” section of your account and click on the “Add”
button:

The registration page that appears will ask you for a serial number and an unlock code
for your software.

ARTURIA – Analog Laboratory – USER’S MANUAL 17

  If you purchased Analog Lab online, you will receive the serial number and an
unlock code in an email confirmation
 If you purchased a controller keyboard such as MiniLab or some other Arturia
controller that came bundled with Analog Lab, you will find the serial number and
an unlock code on a sticker inside the Quick Start Guide that ships with the
controller. It looks like this:

When you see the page pictured below, select “Analog Lab” or the appropriate Arturia
controller from the pull-down menu, enter the serial number and unlock code in the
appropriate spots, and click ‘Submit’:

Analog Lab

You should see the following confirmation screen. If the information is correct, click
‘Submit’ again:

Analog Lab

After this you will be shown a screen from which you can copy the eLicenser activation
code. It will be sent to you by email as a backup, too.
Now let’s return to that Activation wizard window and click ‘Next’.

18 ARTURIA – Analog Lab – USER’S MANUAL

The third and final window of the Activation wizard will appear, and this is where you will
enter the activation code.

Copy and paste the activation code into the space provided and click Finish. The software
has now been authorized on your computer.

3.1.2 If all else fails…

If the process described in the previous section fails for some reason, an error message
will be displayed and the eLicenser Control Center should open automatically. You’ll be
able to enter the activation code by following the method described in the next section.

ARTURIA – Analog Laboratory – USER’S MANUAL 19

 3.2 Entering activation code into eLicenser

Now that you have retrieved the activation code, launch the eLicenser Control Center
(if it isn’t already open). This application was automatically installed on your computer
along with Analog Lab. You’ll find it here:
 Windows: Start > Programs > eLicenser > eLicenser Control Center
 Mac OS X: Finder > Applications > eLicenser Control Center

The following screenshots were taken from a computer running Mac OS X; however, the process is basically
identical on a machine running Windows XP/Vista/7/8. The graphical user interface and the wording may differ
somewhat, but this should not hinder the process.

In the eLicenser Control Center main window you should see a “SeL” virtual dongle
installed onto your computer.

The eLicenser Control Center main window, showing an empty Soft-eLicenser

In the eLicenser Control Center menu, click on the “Enter Activation Code” button, and
enter the code when prompted. Simply paste in the 32-digit code you’ve just copied
from your account on the Arturia website:

20 ARTURIA – Analog Lab – USER’S MANUAL

 Analog Lab

Enter the activation code

The eLicenser Control Center is now ready to download the software license that will
allow you to use Analog Lab. Click “Continue” and the progress bar should advance until
the download is complete. Once the popup window has confirmed completion of the
download, click “Close”.
If a USB-eLicenser hardware dongle is found connected to your computer, the Center will favor it as the
default destination for the license download.

Now the main eLicenser Control Center window should show your Analog Lab license
installed and activated:

ARTURIA – Analog Laboratory – USER’S MANUAL 21

 License is installed and activated

It’s now time to launch the Analog Lab application.

22 ARTURIA – Analog Lab – USER’S MANUAL

 4 ANALOG LAB QUICK START

The following chapter is a quick overview of how to start using Analog Lab immediately.
It does not go into exhaustive detail; the goal here is to help you start enjoying the
sounds as soon as possible. For more a more in-depth description of how Analog Lab
works, please see Chapter 5.

4.1 Audio & MIDI Setup

The first thing to do after launching Analog Lab is to make sure your software is set to
output Audio correctly and that it will receive MIDI from an external keyboard.

4.1.1 Audio setup

In order to check the audio driver settings for Analog Lab, open the Preferences window
by pressing [Command] + [,] on the Mac keyboard or by selecting it from the Analog
Lab drop-down menu (OS X and Windows).

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

This will open the Audio & MIDI Settings window, which is where the preferred audio
output device will be selected. Now click the Test button: If you hear a short sine wave,
then your audio is set up correctly. If not, make sure the correct audio driver is selected
and that your headphones or speakers are properly connected and turned on.

ARTURIA – Analog Laboratory – USER’S MANUAL 23

 Audio and MIDI Settings window

4.1.2 MIDI setup

Your experience with Analog Lab will be seriously enhanced through the use of an
external MIDI keyboard such as Arturia’s MiniLab. As an added bonus, if your MIDI
keyboard is one of ours, Analog Lab will detect which model it is and automatically
configure its main screen with a virtual keyboard that matches the one you’re using.
Note: For the purpose of this manual we will assume you are using the default virtual
keyboard interface for Analog Lab. If you are using an external controller please refer to
the documentation for that unit while learning how best to use it with Analog Lab.
Connecting a USB MIDI keyboard controller with Analog Lab is very simple. As shown in
section 4.1.1 above, navigate to the Audio & MIDI Settings window and then click on the
box inside the MIDI Devices section that corresponds to your USB MIDI keyboard. This
will enable your USB keyboard to control Analog Lab.
For information on the rest of the Audio MIDI Settings, see chapter 5.1.3.

4.2 Sound Mode Quick Start

4.2.1 Select a preset

Once your Audio preferences have been set, it’s a breeze to make music with Analog Lab
because it places over 5,000 production-ready sounds at your fingertips.
First, click on the “Sound” tab in the top-left corner of the main window to switch into
Sound mode.

Sound mode tab

24 ARTURIA – Analog Lab – USER’S MANUAL

This calls up the Sound mode Preset Manager and displays a list of all available presets.
From this window you are able to select single presets and play them from the virtual
MIDI keyboard or by way of an external MIDI source.

The Sound mode Preset list

Click on the name of a preset to select it. As shown above, it will become highlighted in
blue to indicate which preset is the current selection.

4.2.2 Filtering and sorting the Preset list

Analog Lab offers lots of sorting and filtering options that are very handy when you are
looking for a specific type of sound. To access them, click the ‘Filter View’ button in the
upper-right corner of the Studio view:

The Filter View button

This will reveal the Data Filters window, which looks like this:

The Data Filter options in Sound mode

ARTURIA – Analog Laboratory – USER’S MANUAL 25

Note: Depending on the size of your monitor you may need to click the KEYB button at
the top of the application window to help you see all the filtering options.
Use this window to zero in on the type of sound you want by telling Analog Lab you only
want to be shown presets that contain one or more of the following characteristics:
 Type (Bass, Lead, Pad, Sequence, etc.)
 Instrument (the synthesizer on which the preset was developed)
 Characteristics (Aggressive, Ambient, Funky, Soundtrack, etc.)

You can then sort the results by column according to one of these classifications:
 Preset Name (alphabetical order)
 Type (Bass, Lead, Pad, Sequence, etc.)
 Instrument (the synthesizer on which the preset was developed)
 Favorite programs
…and other criteria such as Rating, Sound Designer, and Factory vs. User. Simply click
on the desired column heading to choose the primary sort order.

Select a column heading to specify the sorting criteria

Let’s work through an example. Maybe you're looking for a Brass sound: You can start
by clicking “Brass” in the “Types” filter; the box next to Brass will turn white to show
that this filter is active.

Brass has been selected in the Types filter

As soon as a filter selection is made the Preset list on the left will change to display only
presets of the selected type (in this case, Brass).
Similarly, if you want to select only Brass sounds made by Modular V, for example, click
the corresponding box in the Instruments filter column. Once again the Preset list will
change, showing only presets that agree with the filter choices you have made.

26 ARTURIA – Analog Lab – USER’S MANUAL

 Modular V has been selected in the Instruments filter

Now, thanks to the two active filters, only Brass sounds made using the Modular V
instrument are visible in the Preset list:

The list of presets that correspond to the “Modular V” and “Brass” filters

Let's listen to the “OctBrass” preset toward the top of the list. To load the preset, just
click on its name. If it is highlighted, it has been loaded.

“OctBrass” preset is selected

ARTURIA – Analog Laboratory – USER’S MANUAL 27

If you have an even more specific idea of the sound you are looking for you can add
additional filter criteria using one of the Characteristics filters. If you click on the “Bright”
box, for example, the Preset list will now display only bright-sounding Brass presets that
were made using Modular V. As you can see, “OctBrass” is still contained in the list
because it has a characteristically bright tone.

4.2.3 Modify a preset

Analog Lab has a lot of great features, but among the best are the assignable knobs and
faders in the Controls section of the virtual keyboard. The exact number and position of
these controls may vary depending on which Arturia controller has been detected by
Analog Lab, but no matter which model is shown the result will be the same: Those
knobs and faders make it possible to modify a preset to suit your needs for a session, or
to set up the controls with your favorite parameters for live performance.
Note: When you switch presets you’ll notice that the assignments of some of the controls
may change; this is due to a number of factors such as the parameter names on the
original synthesizers (Emphasis vs. Resonance, etc.) and the presence or absence of
certain parameters on a given synth.
Let's continue using the “OctBrass” preset while we focus on the Controls section. If
you’re using the default virtual keyboard the knobs and sliders should look like this:

The Controls section

Let’s say that you’ve decided that “OctBrass” is very close to what you want, but you'd
actually like it to be brighter than it is. All you have to do is turn the VCF1 Cutoff knob in
the Controls section clockwise until you reach the desired sound.

Filter Cutoff knob (VCF1)

Now let’s say that we want the preset to have a quick attack. To do that, simply adjust
the controls labeled “AttackTime Env1” and “AttackTime VCA1” to their minimum
positions.
By making these slight modifications to the original “OctBrass” preset we have
transformed our sound from a mellow synth brass into an aggressive polysynth. You can
modify it further by changing the release time or any other available parameter; there is
a huge range of sonic possibilities within these parameters.
Please see Chapter 5.4.5 for more information regarding the functions of these controls.
You must own a copy of the instrument you are editing in order to have full access to all of its parameters.

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 4.2.4 Saving a User preset

If you own the instrument you have been editing, then once a preset has been modified
to fit your needs it can be saved as a User preset. After this you’ll be able recall it as
easily as any other preset. You can even add filtering options so it shows up along with
other presets of similar characteristics.
Let's take our modified “OctBrass” preset and hit the “Save As” button on the tool bar:

The ‘Save As’ button

A window will open and allow you to define a number of details for your preset.
At the very top of the 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
preset (Overwrite) or create an alternate version (Create new one). These are available
inside a pull-down menu:

So after that choice is made, the next thing to do is enter a new name in the Sound
Name field.

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 The ‘Save As’ window

Be sure to select one of the “Types” and some “Characteristics” so you can locate your
preset more easily in the future. After you have done this, click the “Save” button. If the
filter options of your new preset match the current filter settings, your new preset will
appear in the Preset list of the Sound Search window.
Note that there are settings like Pitchbend Range and Polyphony in the Preset details
window that can be customized for your new preset as well (see section 5.4.4 for more
information).

4.3 Window management

Now that you’ve learned a few basics we want to show you a few things that will help
you configure the Analog Lab screen to suit your needs.
We’ve been focusing on the features of individual windows, but there are some features
related to the boundaries between the windows that are pretty useful, too!

4.3.1 Click and resize

Each window is framed by a gray border, as you’ve noticed. But what is less obvious are
the tabs you can use to move those borders and make a window larger or smaller.
There are two examples of this in Sound mode, right in the middle of the screen:

Click on one of those tabs and move it in either direction until the proportions of the
various windows seem right to you.

4.3.2 Scroll bars

Some windows contain more information than can be displayed on a computer monitor.
The Sound mode Preset list is a perfect example of this: if we tried to put all 5,000
Sounds in one window their names would be too small to read!
When this is the case you’ll see a couple of blue scroll bar indicators at one edge of the
window in question. If you don’t have a scroll wheel on your mouse, then click one of
those blue scroll bars and move it the direction you want the window to move.

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 4.4 Taking a Snapshot

The Snapshot feature of Analog Lab gives you even faster access to your favorite
presets. If you find yourself frequently using a particular Sound or Multi, save it as a
Snapshot. You can store up to ten Snapshots, depending on the selected controller type,
and they will be reloaded when you launch Analog Lab for instant recall.
Note: We’ll discuss what a Multi is and how to create one in Chapter 5.5. For now it’ll
suffice to know that a Multi is a split or layered arrangement of two Sounds.
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
looks like this:

The Snapshots section

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You can see the blue Snapshots tab has moved to the right side of the above picture.
When you want to close the Snapshots window, click its tab again.
It’s very easy to store the current preset as a Snapshot; simply drag it onto one of the
Snapshot buttons.
For example: If you open the “daf” preset by clicking on it, all you have to do to save it
as a Snapshot is drag it to the Snapshot 1 button.
The same holds true for the Multis as well: Grab one or more favorites and drag each to
its own Snapshot button.
In the following picture you’ll see what it looks like when two Snapshots have been
created, one holding a Sound (S) and another holding a Multi (M). The red button
indicates which of the two Snapshots is currently selected:

Two Snapshots ready to go

Now you can recall those presets at any time simply by clicking on the desired Snapshot
button. They are never more than two clicks away: click the Snapshots tab, click the
Snapshot button, and your preset will be at the ready.

4.5 Multi Mode Quick Start

4.5.1 Select a Multi preset

First a quick definition: A Multi is a combination of any two Sounds that can be triggered
at the same time from a single keyboard. They can be layered together or split, with one
on the left side of the keyboard and the other on the right.
That’s just the tip of the iceberg, though: Each Sound in the Multi (known as a ‘Part’)
has an independent setting for level, stereo panning, two FX sends, and transposition
(both chromatic and/or by octaves). You can also determine which Part will be affected
by MIDI messages such as pitch bend, mod wheel, aftertouch, sustain and expression.

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The Multi itself allows you to select two different effects and edit them to suit your
needs. There is also a Master section with control over the levels of the FX returns and
the overall level of the Multi.
And just like in Sound mode, we’ve given you a large selection of ready-made Multis that
you can use as-is or as a basis for your own Multis. Take a spin through the Multi list!
We may have already created what you need for a given project.
There’s more to say, but for now let’s just get into Multi mode. To do this, click the
“Multi” tab in the tool bar:

Multi mode tab

From this window you are able to select the Multi presets and play them using the virtual
keyboard or an external MIDI source. As with Sound mode, the selected Multi will be
highlighted in blue:

Multi mode window

And also as with Sound mode, you can sort the list of Multis according to the columns on
the top of the Multi window: Preset Name, Favorite, Rating, Designer, Genre, and
Factory/User.

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The Preset details window on the right side of the screen tells you a lot at a glance: the
two Parts are clearly marked (Part 1 and Part 2), and you can see the name of the
Sound that was used for each Part inside the smaller windows.
Notice that Part 1 is outlined in red, while Part 2 is outlined in yellow. This color-coding
scheme is used elsewhere in the details window, such as in the ‘MIDI and Split’ section:
you can see immediately that this is a split Multi, with Part 1 covering the upper half of
the keyboard (the thick red line) and Part 2 assigned to the lower half of the keyboard
(the thick yellow line). The key ranges, MIDI channels, and transposition information for
each part are also color-coded in the boxes to the right of the smaller keyboard graphic.
We’ll dive into a serious explanation of everything a Multi can do in Chapter 5.5. But
there’s one more feature that should be explained now: How to change which Sound(s)
are being used within the Multi.

4.5.2 Changing a Sound within a Multi

Look at the top of the Multi mode window:

See the grayed-out word ‘Sound’ at the top of the Preset list window? Click on this word
and the entire list of Sounds from Sound mode becomes visible. You can sort the Sound
list inside Multi mode by clicking on the columns just as you would in Sound mode.
Click on one of the Sounds from this list and drag it on top of the name of the Sound
inside the Part 1 window or the Part 2 window: the Sound you dropped inside the Part
will now be present inside the Multi.

For more details on how to edit a Multi, see Chapter 5.5.

4.5.3 Saving an edited Multi as a User program

Just a few simple changes can result in a unique and useful Multi. So if you’ve made
something you’d like to keep, it’s easy to do:
 Click the ‘Save As’ button
 Give the Multi a name
 Select its Genre
 Click ‘Save’.
You’ve just created your own Multi!

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 4.5.4 Start a Multi from Scratch

Our sound designers have done marvelous work supplying all sorts of great Multis, and
it’s sometimes faster to find something that’s in the ballpark and make some minor
adjustments to suit the task at hand. But building something from the ground up can be
a lot of fun and a great source of inspiration as well.
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.

4.6 Live Mode Quick Start

There’s a third performance option for Analog Lab positioned next to the Sound and Multi
mode buttons for easy access: Live mode.
Simply put, this mode allows you to construct a set list, for example, by assigning
Sounds and/or Multis to particular MIDI program change numbers for instant recall from
a MIDI controller keyboard or a host application such as a DAW.
We’ll delve into the details of Live mode in chapter 5. But for now if you’d like to try it
out, click the Live mode button:

Live mode selected

Then decide whether you want to place a Multi or a Sound into your set list by selecting
one or the other category at the top of the Preset list:

Let’s work with Sounds for now. Click on one of the Sound names and drag it over to the
Program Map section on the right side of the Live mode window:

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To select a different item, either drag another Sound from the Sound list or switch to the
Multi category and repeat the process.
There’s a lot more you can do with Live mode! See section 5.7 for more information.

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 5 USING ANALOG LAB

Analog Lab builds upon the success of its predecessors Analog Laboratory, Analog
Factory, and Analog Player. Like those esteemed software packages, it contains
thousands of presets taken from Arturia's award-winning emulations of the world's
greatest hardware synthesizers.
This chapter will go in-depth into the features Analog Lab offers so you can get the most
out of this incredible software.

5.1 Configuration

5.1.1 General options

Preferences are set by clicking on the PREF button on the right half of the tool bar.

The “Preferences” window

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The following options are available:

RAM Allocation Low, Normal, Comfortable, No Limit

Screen Height Small, Medium or Large. You must restart Analog Lab for
this change to take effect.
Drag-and-drop targets When dragging a Sound to a Part in Multi mode, or when
flash dragging a Sound or Multi to one of the Program Map
locations in Live mode, this setting determines whether
the target for the selected item will flash or not. Once
you learn what can go where you may not need the
reminder, so you might choose later to set this to Off.
The default setting is On.

5.1.2 Arturia Plug-ins

The Arturia Plug-ins section of the Preferences window indicates whether Analog Lab has
found full versions of Arturia plug-ins installed on your computer (i.e., purchased and
authorized, not the Demo versions).

 Detected: Analog Lab has found the full version of the plug-in and it can enabled
or disabled.

 Not Detected: Analog Lab has not found the full version of the plug-in. Demo
versions of the plug-ins will not be detected.

 Must Be Updated: The installed version of the plug-in does not match the
minimum version requirement and needs to be updated. Check the Arturia web
site for the latest version of this plug-in.

 Not Authorized: The full version of the plug-in has been found but there is no
license for it in the eLicenser. You must activate this product in order to use it for
editing

Note: A basic level of sound editing capability is always available within Analog Lab.
Authorization allows access to the full editing capability of that instrument.

5.1.3 Audio & MIDI Settings

The Audio & MIDI Settings window is where you can define basic Audio and MIDI
options.

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

DEVICE The top line allows you to select the audio driver for Analog Lab.
The second line chooses the audio output. The default setting is
“Built-in Output” for the Mac; for Windows we highly recommend
the use of an adequate ASIO driver for your sound card.
TEST Sends out a short sine wave tone to help make sure sound is
being sent out the correct device.
SAMPLE RATE Chooses the sample rate; the default is 44.1 KHz. Increasing the
sample rate increases the quality of sound, but adds a bigger load
to the CPU.
AUDIO BUFFER Chooses the audio buffer size, displayed in samples and
SIZE milliseconds. The default is 512 samples. Decreasing this number
lowers latency, but adds more load to the CPU. Increasing this
number lessens the load on the CPU but increases latency (the
delay between a played note and actual sound output).
ACTIVE MIDI Displays the available MIDI inputs that can be used to control
INPUTS Analog Lab. For example, if you'd like to use an external keyboard
with Analog Lab, it can be selected here.

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 5.2 Tool Bar

The tool bar consists of a set of essential icons, organized from left to right:

Tool Bar

The tool bar allows you to see or have access to:

Sound Selects the Sound mode page, the starting point for everything in
Analog Lab
Multi Places Analog Lab into Multi mode, where two Sounds may be
played from the controller and processed independently
Live Enters Live mode, where up to 128 Sounds and/or Multis can be
placed in the desired order for a performance or easy DAW access
New Creates an empty Multi with no assignments for Sound or FX, etc.
Save Saves changes to the current User program.
Save As Allows you to save a modified Sound or Multi, give it a new name,
and add a number of filter labels for ease of location. This new
program will then be a User program, not a Factory program.
It is not possible to save or delete a Factory preset (the ones installed with the
software). However, the Save As function allows the modification and saving of a
Factory preset under a user-defined name.

Delete You can delete the selected User program by clicking this button.
Export Will export the selected User program. Click on “Export”, choose
a destination for the document which will be created (*.lsx for a
Sound, *.lmx for a Multi), and give it a unique name. This file
contains a single User Sound or a single User Multi, depending on
what has been selected.
It is not possible to Import/Export factory presets.

Import Will import a single User program into Analog Lab, giving you the
ability to add new User programs to your personal collection. This
file will be in the format *.lsx (for a Sound) or *.lmx (for a Multi),
and will contain one User Sound or one User Multi.
Connect If you started Analog Lab before connecting your USB MIDI
controller, click this button to establish the MIDI connection.
Virtual Controller Select which virtual controller will be seen when Analog Lab starts

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 MIDI Enables ‘learn’ mode for the virtual controls in Analog Lab. Each
control can be linked to an incoming MIDI control message, and
the entire set of learned assignments is called a Configuration.
Click on the drop-down arrow to access the MIDI Configuration
export/import menu.
All Click the button and a drop-down menu allows you to choose the
master MIDI channel for Analog Lab (All, 1-16). The Default is
ALL, which means Analog Lab will respond to data sent on any
MIDI channel (Omni mode).
Keyb Show or hide the keys of the virtual keyboard. The Controls
section will remain visible.
Pref Opens the Preferences window so the screen height, knob mode
and other preferences can be set. Also displays the status of the
Arturia plug-ins.
Soft Clip Helps avoid digital distortion when the output signal becomes
very hot. You might want that sometimes, though, so we’ve given
you the option to disable this feature.
Panic Shuts off all notes
CPU meter Allows you to gauge the load a Sound or Multi is placing on your
computer’s processing resources.

5.3 Virtual keyboard

The virtual keyboard in Analog Lab gives you access to both a click-and-play keyboard
and a slew of controls which you can use to modify the Sounds. Let’s work our way
through each section.

5.3.1 Virtual keyboard options

When Analog Lab detects your Arturia controller it automatically chooses a virtual
keyboard that matches that unit’s appearance and functionality, so all of your controls
are visible on the computer and their assignments match instantly. If you would like to
override this assignment, or if you don’t have an Arturia keyboard connected to Analog
Lab, then there’s a pull-down menu in the tool bar that allows you to select one of four
controller types.

Select the one that most closely matches the number of controls available on your MIDI
controller. Analog Lab will remember this choice the next time it starts.

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 5.3.2 Virtual keyboards: Common controls and features

5.3.2.1 Master Volume

Each of the virtual keyboard choices has a Master Volume knob in roughly the same
location: between the pitch/mod wheels (or strips) and the Controls section. This knob
allows you to set the overall volume of Analog Lab and will not change when a new
preset is selected.

Master Volume knob

Click and drag this control to adjust the Master Volume.

5.3.2.2 Pitchbend and Modulation wheels / touch strips

Depending on the virtual keyboard you have selected their appearance may vary, but
you will always have one or the other set of these controls on the left side:

Pitch / Mod wheels Touch strips

Pitch Controls the pitch of the sound. Click and drag up or down to alter the
pitch of the active Sound.
Mod Controls the modulation depth (MIDI controller #1). Click and drag
upward to increase the modulation, and vice versa.
The modulation wheel is not necessarily connected on every preset.

5.3.2.3 Snapshots tab

The vertical blue label on the left side of the keyboard hides the Snapshot buttons for
the virtual keyboard. The number of available Snapshots varies for each keyboard
option. Click this label and the Snapshots panel will open, revealing the Snapshot
buttons. Click it again and the Snapshots panel will close.

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To create a Snapshot, click on a Sound or Multi and drag it on top of the Snapshot
button. Then next time you want to find that preset, simply open the Snapshots tab and
click on that button. The Sound or Multi you placed there will be loaded into memory.
In addition to the convenience of having your favorite Sounds or Multis available from
the pads of your Arturia controller keyboard, the Snapshots can also be useful for
comparing modifications to a given Sound in order to choose which version fits best into
a project. For example, you could store multiple versions of the same preset with
different Filter settings, effects, decay times, etc., and call them up on the fly to see
which one works the best for that situation.

5.3.2.4 Pads tab

As with the Snapshots tab, the vertical blue label on the right side of the keyboard hides
the Pad group for the virtual keyboard. The number of available Pads varies for each
keyboard option. Click this label and the Snapshots panel will open, revealing the
Snapshot buttons. Click it again and the Pads panel will close.

The pads allow you to specify and trigger chords when you click the pad. To do this, click
inside each field and select the values you want: for example, if you want the pad to
trigger a C Maj 7 chord in the middle of the keyboard range, select C3 from the Chord
Root menu and Maj7 from the Chord Type menu. These settings will be remembered the
next time you launch Analog Lab.

5.3.2.5 5-octave keyboard

In the absence of an external USB MIDI controller, you can still audition the edits you
make to a Sound or Multi by clicking on the virtual keyboard.

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 5.3.3 Virtual keyboards: To each its own control section

Default controller / Laboratory controller

The Laboratory virtual controller is the default. It has the largest number of controls: ten
knobs, nine sliders, ten Snapshot buttons, and four pads.

Player controller

The Player virtual controller gives you eight knobs, plus four Snapshot buttons and eight
pads.

Factory controller

The Factory virtual controller offers ten knobs, four sliders, eight Snapshots and four
pads.

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 MiniLab controller

The MiniLab virtual controller gives you fourteen knobs, eight Snapshots and eight pads.

KeyLab controller

The KeyLab virtual controller gives you ten knobs, nine faders, ten Snapshots and
sixteen pads.

5.3.4 Assignable MIDI control of parameters

The knobs and sliders on the virtual keyboard can ‘learn’ which external MIDI controls
you want to use to control the parameters inside Analog Lab. This is very easy to do.
Before we proceed, make sure the MIDI device you want to use is connected to the
computer and has been selected in the Audio & MIDI settings window inside Analog Lab
(see section 5.1.3).
The channel on which MIDI data will be received is either defined for the Analog Lab
plug-in by the host DAW or defined by the Analog Lab application itself in standalone
mode.
Once the overall MIDI channel has been specified it is possible to ‘mark’ a particular
incoming MIDI message as belonging to a particular virtual control in Analog Lab.
To do this, click on the MIDI button in the tool bar and all virtual controls in Analog Lab
will be highlighted in purple. Then click the Analog Lab control you want to assign.
The ‘MIDI Control Setup’ window will appear, allowing the selected virtual control in
Analog Lab to learn the MIDI control number of whichever control you activate on your
hardware controller.

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 Assigning an external MIDI controller

Let’s discuss the information in the above window.

 Learning… Signifies that the selected Analog Lab control is waiting to receive
MIDI information from the hardware control you activate.
 Control name: Lets you know the internal identity Analog Lab has assigned to the
virtual control you have selected. It is not possible to edit this name.
 Min / Max: These two graphics indicate the detected range of motion for the
external control. Be sure to move the external control through its entire range
while establishing the connection; this will maximize the resolution of the control.
 Unassigned: You’ll either see the word “Unassigned” here or the incoming MIDI
CC number related to the data being generated by the hardware control.
 Is Relative: If the hardware control sends data in a relative format, leave this
box checked. If it sends data in a linear fashion (hardwired from 0-127), uncheck
this box. A proper setting will ensure a reliable response between hardware and
software for this parameter. Refer to the documentation for your hardware
controller if you do not know which option you should use.
 Unassign: To deactivate the MIDI connection of a particular control, select it
as described above and then simply click the “Unassign” option in the MIDI
Control Setup window.
Once a virtual control has been linked to an external MIDI control its color will change
from purple to red and stay that way until Analog Lab leaves MIDI Control Setup mode.
To close the MIDI Control Setup window, click the MIDI button in the tool bar again.

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

Once you’ve completed a set of MIDI Control Setup assignments to your external USB
MIDI controller, be sure to export them as a backup. You can also create and export a
different set of control assignments for a different MIDI controller depending on where
you’ll be working or performing. Multiple Configurations can be listed in the drop-down
list and are available for immediate selection.
To access these features, click on the arrow next to the MIDI button in the tool bar:

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Here’s a breakdown of what each of those features does:
Copy current Any changes you make to the current configuration become part
config of that configuration. So be sure to use this feature before you
create a new configuration so will not accidentally alter the
current configuration. A window will prompt you to give the new
Configuration a name, after which it will appear at the bottom of
the drop-down list.
Delete current Note: Be sure to export a configuration first before deleting it!
config You may decide you want to use it later after all.
Based on the picture above, if you were to select “Delete” the
configuration “My_external_setup” would be deleted from the
drop-down list. If you have exported it before deleting it then it
will still remain in the folder where you placed it, and you can re-
import it later from there.
Import config Allows you to import a configuration from whatever location you
have used as an export destination.
Export current Use this to create a backup copy of your configuration outside the
config Analog Lab program. That way you will be able to re-import it if
you accidentally delete it from the configuration list.
The MIDI controller configs will be exported into the format
“*.lab2midi” (“*” stands for the name you have given to the file).
Configuration list Once you have given a name to your new configuration it will
appear in the drop-down menu under the Default configuration.
You can now select it, export it or delete it from this list.

As you can see, it’s easy to set up Analog Lab to work perfectly with whatever controller
you are using. This means you’ll be able to set up Analog Lab quickly for any situation,
whether you will be recording or performing live.

5.4 Sound Mode

A preset contains the memorized settings of the various parameters that are necessary
to reproduce a particular sound. The Sound mode page is where individual presets are
located.
To access Sound mode, click the Sound button on the left side of the tool bar. This is
what you’ll see:

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 Sound mode screen

To load a preset, click on a name in the Preset list on the left side of the Sound mode
screen as shown above.
Analog Lab is chock full of Factory presets: we’ve included over 5,000 of them!
Searching through them all could be a daunting task, so in order to help you find the
appropriate sound for a project more quickly, we’ve tagged the Presets in a number of
ways. These ‘tags’ are identifiers such as “Type” and “Characteristics”, and they allow
you to filter your search results and zero in on the sound you want.
Said filters are available on the right side of the Sound Search menu under the name
“Data Filters”. Let’s take a moment to look at each filter option.

5.4.1 Instruments

The Instruments filter

“Instruments” refers to one of the 9 instruments from which Analog Lab draws its
sounds. The instruments include:

 ARP 2600 V  CS-80 V  Jupiter-8V  Mini V

 Modular V  Prophet V  Prophet VS  SEM V

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 Wurlitzer V

If you click on CS-80 V, for example, the Preset Manager will provide a list of presets
drawn exclusively from the CS-80 V. But you can also choose to browse the presets for
more than one Instrument at the same time. For example, by selecting both CS-80 V
and ARP 2600 V in the “Instruments” frame, you’ll see a list of presets from only those
two instruments.
When no instrument is selected for preset filtering, then the Manager will either
automatically list all presets or list presets based on other filters.

5.4.2 Sound Types

The Types filter

“Types” refers to the kind of sound you might use for a particular purpose (bass lines,
comping, etc.). Just as with the Instruments column, use the “Types” column to restrict
the Preset list choices to one or more of the following:

 Bass  Brass  EFX  FM

 Guitar  Lead  Organ  Pad
 Percussive  Piano  Sequence  Strings

As with the Instrument filter, one can choose one or more Types of presets. By selecting
only BASS, the user will be given a list that contains only bass presets, and if one
chooses BASS and STRINGS both Types will be provided.
The user may also search deeper by selecting and combining the different filters. For
example, one may choose BASS, PAD, and STRINGS under the Type filter and MODULAR
V and ARP 2600 V in the Instruments filter. The Preset Manager will then offer a list
fulfilling only the above criteria.

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 5.4.3 Sound Characteristics

The Characteristics filter

Further refinement of your search is available through a third filter: “Characteristics”.

This allows you to choose presets according to sonic qualities such as:

 Acid  Aggressive  Ambient  Bizarre

 Bright  Complex  Dark  Digital
 Ensemble  Funky  Hard  Long
 Noise  Quiet  Short  Simple
 Soft  Soundtrack

As with other criteria, these filters can be applied either individually or in any desired
combination.

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 5.4.4 Preset details

To the right of the Preset list is a window showing essential details about the selected
Preset. You can edit any of the details from this window except the name of the preset;
that operation is accomplished using the Save As procedure. (The Synth instrument type
is fixed, of course.)

Preset details

An image of the instrument on which the preset is based is shown along with the
following information:
Name The name of the current preset (to rename, use Save As button)
Synth The name of the virtual instrument
LFO Sync Toggle MIDI sync of LFOs on or off
Polyphony The number of available voices for the current preset
Key Mode Choose Mono, Unison or Poly modes for the polyphony setting
Seq/Arp Step Size Subdivide or multiply the note value of an active sequence or
arpeggio, or adjust its speed if LFO Sync is not enabled
Pitchbend Range Set the maximum limits of the pitch bend wheel

Note: If the preset for which you are adjusting the details is a Factory preset, you must
save this preset as a User program in order to recall those changes later.

5.4.5 Editing a preset

One of the great features of Analog Lab is that it is possible for any of its presets to be
opened and edited using the original Arturia soft-synth on which it was created, as long
as you have purchased and installed a copy of that synthesizer on your computer.
That being the case, then clicking on the picture of that synthesizer inside the Preset
details window will open the current preset inside that synth.

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For instance, if you own a copy of CS-80 V you can open any of the CS-80 V presets you
find by clicking on the CS-80 V picture:

CS-80 V picture

Next, the CS-80 V editing window will open:

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

After this you can edit the preset however you like with the CS-80 V controls and then
save the edited preset as new User preset.

52 ARTURIA – Analog Lab – USER’S MANUAL

 Factory presets cannot be overwritten; they can only be modified and saved as User presets.

5.4.6 Organization

In addition to the search filters mentioned earlier, there are also viewing options within
the Preset Manager that allow you to choose how the presets are listed.
The list of Presets always appears in a vertical column on the left side of the screen
under Preset Name. When Analog Lab is first launched, the presets are listed in
alphabetical order from A to Z. This can be reversed (Z to A) by clicking on the Preset
Name column again.
However, if the user prefers, the presets can be re-ordered according to the categories
found in the adjacent columns:

TYPE This is the column to use if you’re looking for a particular type of
sound (Bass, Pad, Sequence, whatever). Click at the top of the Type
column and the presets will be ordered according to an alphabetical
listing of the Type characteristics.
INSTRUMENT If you’re looking for a sound made by a particular Arturia instrument
such as Prophet VS or Wurlitzer V, click on the Instrument column
and the presets will reorganize based on the alphabetical order of the
Instrument column.
FAVORITES Allows you to indicate that certain presets are your ‘go-to’ choices
when you start a new project. Simply click the Favorites column and
they will be placed at the top of the Preset list (or at the bottom, if
you click it again).
RATING Indicate your likes and dislikes for each preset, or simply use this as
another way to categorize them (set lists / projects / bands 1-5, etc.)
DESIGNER If a particular sound knocks your socks off, you may want to spend
some time focusing on what else that sound designer has created.
Clicking on the Designer column allows you to do this.
FACTORY Two choices: Factory or User. The status of the dots is fixed: a white
dot means ‘Factory preset’ and a blank dot means ‘User preset.’
Toggle this column to change which sort is placed at the top.

5.5 Multi Mode

Sound mode is phenomenal, because our synth models and sound designers are
absolutely top-notch. But Multi mode is where Analog Lab really starts to shine. It allows
you to take two Sounds and combine them in a layer or split them across your controller
keyboard for simultaneous playability. You also have the ability to position each Sound
where you want it in the stereo field, adjust their relative levels, and transpose either
one for an even more impressive sound.
We’ve also added quite a bit of flexibility in the ability to enable or disable various MIDI
controls for each Sound independently.
But Multi mode is much, much more than just adding two Sounds together! You can also
add independent effects to each Sound such as delay, flanger, reverb, bit reduction,
compressor, and distortion, to name a few. We’ve provided a huge variety of ultra-high

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quality digital effects that will take your combined synthesizer programs and make them
positively formidable.
And of course you can open the editing panel for any Arturia plug-in synth you have
installed and authorized, so it is possible to adjust any parameter of either Sound and
dial 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.

5.5.1 Multi Mode: an introduction

The Multi mode screen

The Multi window pictured above displays the following features (you may need to toggle
the KEYB button and scroll down to see them all):

 The Multi preset list, with familiar category columns such as Name, Favorite,
Rating, Designer, Genre, and Factory/User

 The Sound tab, where Sounds may be selected for inclusion in the Multi

 The Preset details window, with the Multi name, Genre and Creator easily seen

 2 Sounds of any type, with controls for Level, Pan, and FX send levels and routing
options. If you own one or both synths you can click on their icons to open them
for editing

 The MIDI and Split window, which shows where each Sound resides on the
keyboard so you’ll know at a glance whether they’ve been split or layered. You
can also set their key ranges, MIDI Channels, and transposition in this window

54 ARTURIA – Analog Lab – USER’S MANUAL

  FX Sends A and B: When an effect is selected from the pull-down menus the
parameter knobs for that effect will be revealed, allowing you to edit the effect

 The Control Assign window, where the various MIDI controllers can be enabled or
disabled for each Sound

 The Master section, with FX Return controls for FX sends A and B and a
duplicated Master Volume control
As you can see, there are a lot of possibilities. We’ll cover each one thoroughly in this
chapter.

5.5.2 Sorting the Multis

Right off the bat Analog Lab provides lots of great Multis to get you started. And just like
with the Sounds, we’ve pre-marked them in a couple of ways to help you locate what
you’re looking for more quickly.
You’ll notice across the top of the Preset list that there are different labels for each
column, such as “Preset Name”, “Favorite”, etc. If you click at the top of one of those
columns the entire list of Multis will be organized alphabetically (A-Z) within that
category. If you click the column heading a second time the order will be reversed (Z-A).

Here’s a description of the category headings:

Preset Name The names of the Multis. This is the default sort order.
Favorite By clicking the dot in this column, the corresponding Multi becomes a
Favorite and will appear at the top of the column when you click on
the Favorite column (or at the bottom if you click a second time).
Rating Use these dots to indicate which Multis inspire you the most, or even
to set them up as additional categories (5 dots = crowd goes wild, or
whatever you want to remember!)
Designer The name of the Creator of the Multi is another category. You can
enter your name as the sound designer when you use the Save As
function.
Genre This label helps you organize your Multis according to the musical
style for which they are best suited.
Factory When the dot is solid that means the Multi is a Factory preset. When
it is a circle then that’s a User Multi. After you save a Multi or two of
your own you’ll be able to use this category to put your Multis at the
top of the list if you prefer.

5.5.3 Selecting a Multi

No surprises here: To select a Multi you can click on one in the Preset list and then use
the up/down navigation buttons on your computer keyboard to select an adjacent one.
You can scroll down the list with using the vertical blue oval at the rightmost edge of the
Preset list window, and then click on one that looks interesting.

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Note: Multis can take a little longer to load than a Sound, since one Multi needs to load
two Sounds and a couple of effects as well.

5.5.4 Multi mode: Preset details

The upper right-hand area of the Multi mode window is the section known as the Preset
details window. It shows you three things: the name of the Multi, its Genre classification,
and the name of the sound designer who created it.

The Preset details section of the Multi mode window

5.5.5 Parameter control assignments per Part

As with Sound mode, every control the virtual keyboard offers can be assigned to one of
the Sound parameters. But in Multi mode two are Sounds active, so we’ve added the
ability to select a parameter from either Sound and assign it to each control.
The process is the same as with Sound mode: click the arrow next to a control and its
menu will open…only now it is twice as wide, because there are twice as many
parameters available.

56 ARTURIA – Analog Lab – USER’S MANUAL

 5.5.6 Editing a Sound Preset within Multi mode

The list pictured above shows roughly 20 parameters for each plug-in which you have at
your disposal whether you ‘own’ the plug-in or not. And as with Sound mode, you will
have access to all of the parameters of a given Arturia plug-in if the full version of that
plug-in has been authorized for use on your computer.
When that is the case, as the cursor hovers over the plug-in picture inside the Part
window it will become “illuminated” like the one at the top of the picture below:

The top plug-in can be edited

Double-clicking on the picture for an authorized plug-in will open the full version in all its
glory, allowing unfettered access to every parameter.

5.5.7 Editing a Multi

5.5.7.1 Changing the Sound assigned to the Part

So far we’ve mostly focused on the higher-level functions of selecting and sorting Multis.
But you may have noticed that above the Preset list and the various sorting categories
that the word “Sound” is visible beneath the “Connect” button. This is known as the
Sound tab. If you click on the Sound tab the entire list of Sounds from Sound mode
becomes visible. This is how individual Sounds are selected for placement inside a Multi.
Note: You can sort the Sound preset list inside the Sound tab of Multi mode by clicking
on the columns just as you would in Sound mode.

Select a Sound from the Sound tab preset list and drag it over to the Part 1 Sound name
window and drop it there. That Sound will now be located inside the Multi as Part 1.

Repeat this process to drag and drop a Sound onto Part 2 and now the Multi is fully
loaded with new Sounds and ready for further editing.

5.5.7.2 Part parameters: Level, Pan and FX

Looking at the screen shot below, let’s go left-to-right through the basic parameters that
are available for a Part within a Multi. Remember that each of these parameters is
available for both Part 1 and Part 2:

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  Level: Adjusts the volume of one Part without affecting the other Part

 Pan: Changes the position of the Part in the stereo field

 FX Send A: Mix: Adjusts the input level of the Part into FX Send A

Pre / Post: Switches the FX Send from pre-fader to post-fader

 FX Send B: Mix: Adjusts the input level of the Part into FX Send B

Pre / Post: Switches the FX Send from pre-fader to post-fader

Note: there’s a red line surrounding the Part 1 parameters and a yellow line surrounding
the Part 2 parameters. This color-coding scheme is used whenever possible in Multi
mode to help you know at a glance which Part you are editing.

5.5.7.3 Part parameters: MIDI and Split

Below the Part 2 parameters is the section that allows you to set certain MIDI
parameters for each Part. As with the lines around the Part windows, red graphics and
text represent Part 1 parameters while the yellow graphics and text represent Part 2
parameters.

Let’s go left-to-right again as we describe the parameters in the picture above. Keep in
mind the parameters are the same for Parts 1 and 2:

 Layer: To reset the split points of the Parts so they’re both full range, click the
Layer button above the highest keys of the MIDI and Split keyboard graphic. The
red and yellow bar graphics will expand to the full length of the keyboard graphic.

 Low/High: Click one of these fields and drag its value higher or lower to set the
MIDI note range of the Part. You’ll see the red or yellow bar graphics change
inside the MIDI and Split keyboard graphic as the values change.

 Chan: Each Part can have its own MIDI Channel setting. The default value is ALL.

 Oct: Each Part can be transposed in octave increments up or down 4 octaves.

 Trans: Use this parameter for chromatic transposition of a Part. The range of
transposition is +/-24 semitones (+/-2 octaves).

58 ARTURIA – Analog Lab – USER’S MANUAL

 5.5.7.4 Multi parameters: FX Sends A and –B

Analog Lab has two independent signal processors available for additional audio sculpting
of your Multi. The list of available effect types is rather extensive, and the full list is
available for both FX Sends. To view the options, click the arrow next to the word Bypass
and the menu will drop down, revealing the contents:

The FX Type list

Scroll down to the desired effect and click; you’ve just assigned an effect to the FX Send.

To enable the effect, click the on/off button to the right of the name of the effect:

With the effect enabled, now you can adjust the various parameters of the effect. Just
remember to boost the ‘Mix’ parameter for that FX Send so the effect is receiving signal;
you’ll find that control near the Part’s synth picture.

5.5.7.5 Multi parameters: Control Assign

Layered Multis are basically “One Really Big Sound”, so you’ll probably want them to
respond the same when you use the Pitch bend or the sustain pedal, etc.

But in other cases, such as when there’s a bass sound on the left side and a piano sound
on the right, you may want to split the controls so the Pitch bend and Modulation
controls are assigned to the bass while the sustain pedal controls the piano.

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The picture below illustrates one such configuration:

In this case the pedals and aftertouch control have been reserved for Part 1, and the
Pitch bend and Modulation have been assigned to Part 2.

To change these settings, click on one of the boxes. A white box means the control has
been enabled; an outlined box means the control has been disabled.

5.5.7.6 Multi Parameters: FX Returns A and –B

These knobs allow you to adjust the output levels of each FX Send. Click one and move
it; you’ll see the values change. These parameter values are stored with the Multi.

5.5.7.7 Global parameter: Master Volume

You may have noticed in the picture above that grouped with the Master Return A and
Return B controls is another knob labeled Master. This parameter is linked to the Master
Volume control next to the Pitch bend and Mod controls; when you move the one control
the other will move as well. It has been placed inside the Multi’s Master section for
convenience so you won’t have to move the cursor over to the left side of the virtual
controller while adjusting the output of the Multi.

However, the value you select here is not stored with the Multi; any adjustment to the
Master Volume parameter will affect all Multis and Sounds equally (i.e., the entire output
of Analog Lab).

5.5.8 Saving your edited Multi

If you modify a ‘Factory’ Multi, the save button is not enabled so that you will not write
over the existing multi. To save a modified multi, click ‘Save As’ and the following screen
shows up. If you modify a ‘User’ Multi, then the ‘Save’ button is enabled and you can
save your changes.

60 ARTURIA – Analog Lab – USER’S MANUAL

 5.5.8.1 Name
Modify the name of your Multi.

5.5.8.2 Genre
The Genre label allows you to flag a Multi as a good one to use for a particular style of
music. When you are saving a Multi you will see a field called ‘Music Genre’; click in the
list to the right of that and a drop-down menu will show you to following Genre choices:
 Electro  Urban  Pop  Rock
 Latin  Funk  Jazz  Classical
 Soundtrack  World  Dub-Reggae  None

Select one Genre for your User Multi and then continue with the Save process.

5.5.8.3 Creator
Once you’ve entered the details for the Multi, click the Save button. If you decide you
want exit to make more changes to the Multi parameters first, click Cancel.

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 5.5.8.4 Save sounds
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
sounds. They will then be listed in Sound Mode.
To save the Sound of the 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
edit its name.
If the check boxes are unchecked, the ‘Factory’ Sounds will be used instead.

5.6.1 Start a Multi from Scratch

Sometimes building something from the ground up is the best way to learn how it works.
So if you’d like to start your own Multi, click the ‘New’ button in the tool bar:

Follow the twists and turns that you encounter as you experiment! What you end up with
will be uniquely suited to your curiosity.
Note: the ‘New’ button is only active in Multi mode.

5.6.2 MIDI control of Multi mode parameters

If there are particular controls on an external USB MIDI controller that you would like to
assign to one of the virtual controls inside Multi mode, that is entirely possible. Just click
the MIDI button in the tool bar and they’ll become another color, indicating that they are
waiting for you to make a selection.
Press Control on your computer keyboard and click on the virtual control you wish to link
to a particular control on your controller keyboard. A window similar to this one will open
(for a full description of its parameters, see section 0):

62 ARTURIA – Analog Lab – USER’S MANUAL

Now activate the control on your controller keyboard and move it through its full range.
You will see its identifying MIDI information captured by the MIDI Control Setup window.
Once you have established this connection you can move on to the next pair of controls
or exit MIDI Control Setup mode by clicking the MIDI button in the tool bar again.
Note that the knobs and sliders in the Controls section of the virtual keyboard have also
entered MIDI assignment mode. These controls are shared among all three modes, so be
mindful that a change made to the MIDI assignments of these controls will be effective
in Sound and Live modes as well.
Be sure to save your entire MIDI configuration once you have set up the controllers the
way you want them. To learn more about this, see section 5.3.5.

5.7 Live mode

Analog Lab allows you to assign a series of Sounds and/or Multis to particular MIDI
program change numbers so a MIDI controller keyboard or a host application such as a
DAW can select them easily.
To enter Live mode, locate and click its button in the tool bar:

Live mode selected

There are three main areas in the Live mode screen: the Preset selection window, the
Preset/Song details window, and the Program Map.

 Preset selection: Select a Multi or Sound from their respective Preset lists and
drop them into the Program Map.

 Preset/Song details: View details about the current Multi or Sound and enter
the name of an associated Song.

 Program Map: This is the main focus of Live mode. Drag and drop Multis and
Sounds to the Program Map in the desired order so they can be called up using
MIDI Program Change numbers.

5.7.1 Selecting a Preset for the Program Map

First decide whether you want to place a Multi or a Sound into Program Map by selecting
one or the other category at the top of the Preset list:

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 The Program Map in Live mode can use either Multis or Sounds

We’ll select a Sound first, so click on the Sound tab to view the Sound mode Preset list.
The view on the left side of the window should be familiar: it looks exactly like Sound
Mode. The Data Filters window is not available, but it is possible to sort the Preset list by
clicking on the category columns (Preset Name, Type, etc.) as you would in Sound
mode.
So for example, if you know the User program you are looking for was created using the
CS-80 V plugin, you might want to click on the Instrument category and then scroll
through the list until you reach the group of CS-80 V programs. You should be able to
find the User program fairly quickly after that.
Once you’ve found the Sound you want, click on its name and drag it over to the
Program Map window on the right side of the Live mode screen:

This action has placed Synchro_Bass at the top of the Program Map. Now when you want
to select that Sound from an external MIDI source or a DAW, just make sure Analog Lab
is in Live mode and send it MIDI Program Change #1. Synchro_Bass will be selected.
To add another item to Program Map slot #2, either drag another Sound from the Sound
list or switch into the Multi category in the Preset Selection window and select a Multi.
You can sort the Multi window according to its categories, also.
Once you’ve located the right Multi, drag it over to the second slot in the Program Map
list and drop it. MIDI Program Change #2 will select that item, and so on.
There are 128 MIDI program change numbers, so the Program Map has 128 slots for you
to fill with your Sounds and Multis.
Remember: When switching from one type to the next, Multis can take a little longer to
load than a Sound. This is because each Multi consists of two Sounds and various effects
settings as well.

64 ARTURIA – Analog Lab – USER’S MANUAL

 5.7.2 The Preset / Song Details window

When a Sound or Multi is selected from the Program Map there are certain helpful details
that will be displayed in the Preset / Song Details window. The amount of information
that is shown will change slightly depending on whether a Multi or Sound is the current
program.

5.7.2.1 Sound details

This shows the name of the Sound, a picture of the plugin instrument used to create it,
and the title of the Song for which the Sound will be used. To enter a Song name, just
click in the field and start typing.

5.7.2.2 Multi details

Here we see the name of the Multi and its musical Genre, the title of the Song for which
the Multi will be used, the names of the Sounds used in each Part, and pictures of the
plugin instruments used to create them.
To enter a Song name, just click in the field and start typing.
Keep in mind that you can re-use a Sound or a Multi and give it a different Song name;
just drag it from the Preset list again and drop it on a different Program Map location.

ARTURIA – Analog Laboratory – USER’S MANUAL 65

 6 ARTURIA ANALOG LAB – LEGAL INFORMATION

6.1 Software License Agreement

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
to use this copy of the Analog Lab program (hereinafter the “SOFTWARE”).
All intellectual property rights in the software belong to Arturia SA (hereinafter:
“Arturia”). Arturia permits you only to copy, download, install and use the software in
accordance with the terms and conditions of this Agreement.
The product contains product activation for protection against unlawful copying. This
system is known as eLicenser and permits a permanent use of the software only after
the activation process has been totally completed. The software can be used only
together with the eLicenser dongle (dongle) and/or the Soft-eLicenser; the OEM software
can be used only following registration.
Internet access is required for the activation process. The terms and conditions for use
of the software by you, the end-user, appear below. By installing the software on your
computer you agree to these terms and conditions. Please read the following text
carefully in its entirety. If you do not approve these terms and conditions, you must not
install this software. In this event give the product back to where you have purchased it
(including all written material, the complete undamaged packing as well as the enclosed
hardware) immediately but at the latest within 30 days in return for a refund of the
purchase price.

1. Software Ownership
Arturia shall retain full and complete title to the SOFTWARE recorded on the enclosed
disks and all subsequent copies of the SOFTWARE, regardless of the media or form on or
in which the original disks or copies may exist. The License is not a sale of the original
SOFTWARE.

2. Grant of License
• Arturia grants you a non-exclusive license for the use of the software according to
the terms and conditions of this Agreement. You may not lease, loan or sublicense the
software.
• If the software is protected by the eLicenser dongle alone, you may install a
license for the software on one or at most 3 computers which are in your possession.
The software may be used only on one of the computers at the same time by using the
Arturia key.
• If the software is protected by the Soft-eLicenser (alone or together with the
Arturia key) or has been sold to the first end user together with other software and/or
hardware (hereinafter: “OEM software”), you may install and use a license for the
software only on one computer which is in your possession. Purchasing a eLicenser
dongle makes it easily possible to use the software on three computers if needs occur.
• The use of the software within a network is illegal where there is the possibility of
a contemporaneous multiple use of the program.

66 ARTURIA – Analog Lab – USER’S MANUAL

• You are entitled to prepare a backup copy of the software which will not be used
for purposes other than storage purposes.
• You shall have no further right or interest to use the software other than the
limited rights as specified in this Agreement. Arturia reserves all rights not expressly
granted.

3. Activation of the Software

• Arturia may use a compulsory activation of the software and a compulsory
registration of the OEM software for license control to protect the software against
unlawful copying. If you do not accept the terms and conditions of this Agreement, the
software will not work.
• In such a case the product including the software may only be returned within 30
days following acquisition of the product. Upon return a claim according to § 11 shall not
apply.

4. Support, Upgrades and Updates after Product Registration

• You can only receive support, upgrades and updates following the personal
product registration. Support is provided only for the current version and for the
previous version during one year after publication of the new version. Arturia can modify
and partly or completely adjust the nature of the support (hotline, forum on the website
etc.), upgrades and updates at any time.
• The product registration is possible during the activation process or at any time
later through the Internet. In such a process you are asked to agree to the storage and
use of your personal data (name, address, contact, email-address, and license data) for
the purposes specified above. Arturia may also forward these data to engaged third
parties, in particular distributors, for support purposes and for the verification of the
upgrade or update right.

5. License module (eLicenser Key and/or Soft eLicenser)

• Arturia uses a hardware device connected through the USB connection of a
computer, the “eLicenser dongle” and/or a protection scheme, the “Soft eLicenser” for
license control (hardware and/or virtual dongle). The eLicenser dongle and/or Soft
eLicenser permanently saves the license information and regulates access to the
software. If a eLicenser dongle is required for the use of the software, then the eLicenser
dongle must be connected physically to the computer through the USB interface.
• For the activation of the software, updates or upgrades of the software the
computer which is connected to the Arturia key and/or using the Soft eLicenser or using
the OEM software must be connected to the server of SIA eLicenser through the
Internet. If the product was delivered with the eLicenser dongle, the license information
was already transferred to the eLicenser dongle. If the product was delivered with a
product card (without the eLicenser dongle), the activation codes of the enclosed product
card must be entered manually by the user upon installation and the license information
must be exchanged with the server of SIA eLicenser.
• In the event of OEM software, the activation codes will be sent to an email-
address submitted by you during a registration and must be entered manually by the
user upon installation and the license information must be exchanged with the server of
SIA eLicenser.
• The reinstallation of the software - on the same or another computer - is
permitted only in case the already installed software cannot be used any more (e.g.
following deinstallation). If the software does not use an eLicenser dongle, the new

ARTURIA – Analog Laboratory – USER’S MANUAL 67

activation codes may be obtained from the user’s online account for support created
during the personal product registration. Further, the activation codes must be entered
manually by the user upon installation and the license information must be exchanged
with the server of SIA Steinberg. Arturia may require for the provision of further
activation codes e.g. your proof of purchase (invoice, receipt) and a signed assurance by
fax or letter stating your name, address and that the already installed software cannot
be used any more.
• You can also use another computer other than the one on which the software is to
be installed for the activation and transfer of license data to the eLicenser dongle, if the
software is using an eLicenser dongle. However, in such a case a corresponding access
software (eLicenser Control Center, “eLC”) must be installed on the computer connected
to the Internet, which is subject to a separate licensing agreement.

6. Defect and loss of the eLicenser dongle

• In the case of a defect or damage to the eLicenser dongle Arturia or a third party
engaged by Arturia will check the eLicenser dongle. In the case of a legitimate claim the
eLicenser dongle and the licenses included shall be replaced in return for a handling fee.
The licenses will only be replaced provided that they are licenses issued by Arturia.
Further claims against Arturia are excluded.
• Arturia assumes no liability or obligation if the eLicenser dongle is mislaid as a
result of loss, theft or otherwise. Arturia reserves the right to block the licenses saved on
the eLicenser dongle upon being notified by the registered user of the loss. The licenses
saved on the eLicenser dongle cannot be replaced.

7. No Unbundling
• The software usually contains a variety of different files which in its configuration
ensure the complete functionality of the software. The software may be used as one
product only. It is not required that you use or install all components of the software.
You must not arrange components of the software in a new way and develop a modified
version of the software or a new product as a result. The configuration of the software
may not be modified for the purpose of distribution, assignment or resale.
• You may also not sell the eLicenser dongle separately as a license; the usage
rights always remain with the software, in particular with the original software data
carrier (e.g. CD).

8. Assignment of Rights
• You may assign all your rights to use the software to another person subject to
the conditions that (a) you assign to this other person (i) this Agreement and (ii) the
software or hardware provided with the software, packed or preinstalled thereon,
including all copies, upgrades, updates, backup copies and previous versions, which
granted a right to an update or upgrade on this software, (b) you do not retain
upgrades, updates, backup copies und previous versions of this software and (c) the
recipient accepts the terms and conditions of this Agreement as well as other regulations
pursuant to which you acquired a valid software license.
• A return of the product due to a failure to accept the terms and conditions of this
Agreement, e.g. the product activation, shall not be possible following the assignment of
rights.

9. Upgrades and Updates

68 ARTURIA – Analog Lab – USER’S MANUAL

• You must have a valid license for the previous or more inferior version of the
software in order to be allowed to use an upgrade or update for the software. Upon
transferring this previous or more inferior version of the software to third parties the
right to use the upgrade or update of the software shall expire.
• The acquisition of an upgrade or update does not in itself confer any right to use
the software.
• The right of support for the previous or inferior version of the software expires
upon the installation of an upgrade or update.

10. Limited Warranty

Arturia warrants that the disks on which the software is furnished to be free from defects
in materials and workmanship under normal use for a period of thirty (30) days from the
date of purchase. Your receipt shall be evidence of the date of purchase. Any implied
warranties on the software are limited to thirty (30) days from the date of purchase.
Some states do not allow limitations on duration of an implied warranty, so the above
limitation may not apply to you. All programs and accompanying materials are provided
“as is” without warranty of any kind. The complete risk as to the quality and
performance of the programs is with you. Should the program prove defective, you
assume the entire cost of all necessary servicing, repair or correction.

11. Remedies
Arturia's entire liability and your exclusive remedy shall be at Arturia's option either (a)
return of the purchase price or (b) replacement of the disk that does not meet the
Limited Warranty and which is returned to Arturia with a copy of your receipt. This
limited Warranty is void if failure of the software has resulted from accident, abuse,
modification, or misapplication. Any replacement software will be warranted for the
remainder of the original warranty period or thirty (30) days, whichever is longer.

12. No other Warranties

The above warranties are in lieu of all other warranties, expressed or implied, including
but not limited to, the implied warranties of merchantability and fitness for a particular
purpose. No oral or written information or advice given by Arturia, its dealers,
distributors, agents or employees shall create a warranty or in any way increase the
scope of this limited warranty.

13. No Liability for Consequential Damages

Neither Arturia nor anyone else involved in the creation, production, or delivery of this
product shall be liable for any direct, indirect, consequential, or incidental damages
arising out of the use of, or inability to use this product (including without limitation,
damages for loss of business profits, business interruption, loss of business information
and the like) even if Arturia was previously advised of the possibility of such damages.
Some states do not allow limitations on the length of an implied warranty or the
exclusion or limitation of incidental or consequential damages, so the above limitation or
exclusions may not apply to you. This warranty gives you specific legal rights, and you
may also have other rights which vary from state to state.

ARTURIA – Analog Laboratory – USER’S MANUAL 69