User Manual Acid V

USER MANUAL

_ACID V

Special Thanks

DIRECTION

Frédéric Brun Kevin Molcard

PROJECT MANAGEMENT

Raynald Dantigny

PRODUCT MANAGEMENT

Edouard Madeuf (lead) Christophe Luong Sebastien Rochard

DEVELOPMENT

Simon Conan

Stefano D'Angelo

Pierre-Lin Laneyrie

Baptiste Aubry

Mathieu Nocenti

Raynald Dantigny

Corentin Comte

Marie Pauli

Alexandre Adam

Yann Burrer

Loris De Marco

Cyril Lepinette

Patrick Perea

Stéphane Albanese

Pascal Douillard

Christophe Luong

Pierre Mazurier

Fabien Meyrat

Samuel Lemaire

Pauline Alexandre

Samuel Limier

Fanny Roche

Rasmus Kürstein

Kevin Arcas

Alessandro De Cecco

Hugo Caracalla

Mauro De Bari

Geoffrey Gormond

Marius Lasfargue

Marc Antigny

DESIGN

Maxence Berthiot (lead) Edouard Madeuf Shaun Ellwood

SOUND DESIGN

Lily Jordy

Jean-Michel Blanchet

Quentin Feuillard

Maxime Audfray

Florian Marin

QUALITY ASSURANCE

Germain Marzin

Arnaud Barbier

Matthieu Bosshardt

Aurélien Mortha

Julien Viannenc

Roger Schumann

Thomas Barbier

Adrien Soyer

Bastien Hervieux

Adam Chrustowski

Enrique Vela

Benjamin Renard

Nicolas Stermann

Nicolas Naudin

Rémi Pelet

Jonathan Gabrièle

USER MANUAL

Stephen Fortner (author) Jimmy Michon

BETA TESTING

Marco Koshdukai Correia

Chuck Zwicky

Terry Marsden

Fernando Manuel

Rodrigues

Gustavo Bravetti

Chuck Capsis

Jay Janssen

Jeff Cecil

Richard Courtel

Ken Flux Pierce

Apollo Negri

Olivier Malhomme

Davide Puxeddu

Andrew Macaulay

Kirke Godfrey

Jam El Mar

George Ware

Adrian Dybowski (Navi

Retlav)

Bastiaan Barth (Solidtrax)

David Birdwell

Gary Morgan

Andrew Capon

Andrew Enderson

Mat Herbert

Stephen Wey

26 avenue Jean Kuntzmann

38330 Montbonnot-Saint-Martin

FRANCE

www.arturia.com

Information contained in this manual is subject to changewithout 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.Nopartofthis

manual may be reproduced 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.

Product version: 1.0.0

Revision date: 21 August 2023

Thank you for purchasing Acid V!

This manual covers the features and operation of Arturia’s Acid V,oneofourmanypowerful

virtual instruments.

Be sure to register your software as soon as possible! When you purchased Acid V,you

were sent a serial number and an unlock code by e-mail. These are required during the

online registration process.

Special Messages

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 changeormodifyanyofthespecificationswithout

notice or obligation to update the hardware that has been purchased.

IMPORTANT:

The software,whenusedincombinationwith an amplifier,headphonesorspeakers, may

be able to produce sound levels that could cause permanent hearing loss. DO NOToperate

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.

EPILEPSY WARNING – Please Read Before Using Acid V

Some people are susceptible to epileptic seizures or loss of consciousness when exposed

to certain flashing lights or light patterns in everyday life.This may happen even if the

person has no medical history of epilepsy or has never had any epileptic seizures. Ifyou

or anyone in your family has ever had symptoms related to epilepsy (seizures or loss

of consciousness) when exposed to flashing lights, consult your doctor prior to using this

software.

Discontinue use and consult your doctor

immediately

if you experience any of the following

symptoms while using this software: dizziness, blurred vision, eye or muscle twitches, loss

of consciousness, disorientation, or any involuntary movement or convulsion.

Precautions to Take During Use

• Do not stand too close to the screen.

• Sit a good distance away from the screen.

• Avoid using if you are tired or have not had much sleep.

• Make sure that the room is well lit.

• Rest for at least 10 to 15 minutes per hour of use.

Introduction

Congratulations on your purchase of Arturia Acid V!

Aswith all of our products, webelieveinofferingthebestofbothworlds in a single package

and letting you choose howyouwant to use it. You can choose to focus on the Hardware

Panel and get an improved vintagehardware-likeexperience,orexploretheAdvanced Panel

and discover sonic and performance possibilities that go well beyond the original synth’s

capabilities.

Here's to a beautiful blend of the old and the new–andthebeautifulmusic you'll makewith

it!

Peace, love, and music,

The Arturia team

Be sure to visit the www.arturia.com website for information about all of our other great

hardware and software instruments. They havebecomeindispensable,inspiringtoolsfor

musicians around the world.

Table Of Contents

1. WELCOME TO Acid V! ................................................................................................................................................ 4

1.1. The Fall and Rise of the TB-303.................................................................................................................................... 5

1.2. Why a virtual 303?.............................................................................................................................................................. 6

1.3. Acid V Feature Summary................................................................................................................................................. 7

1.4. Ten TB-303 tracks to check out ................................................................................................................................... 8

2. ACTIVATION AND FIRST START.......................................................................................................................... 9

2.1. Register, Activate, and Install Acid V ........................................................................................................................ 9

2.2. Initial setup for stand-alone use ............................................................................................................................. 10

2.2.1. Audio and MIDI settings: Windows .............................................................................................................................................................. 10

2.2.2. Audio and MIDI settings: macOS................................................................................................................................................................... 12

2.2.3. Using Acid V as a plug-in..................................................................................................................................................................................... 13

2.3. Playing Acid V for the first time ............................................................................................................................... 14

3. MAIN CONTROLS........................................................................................................................................................ 15

3.1. Common behaviors ........................................................................................................................................................... 15

3.1.1. Value pop-ups................................................................................................................................................................................................................ 15

3.1.2. Parameter descriptions.......................................................................................................................................................................................... 16

3.1.3. Fine adjustment........................................................................................................................................................................................................... 16

3.1.4. Double-click for default .......................................................................................................................................................................................... 16

3.2. Core Sound Controls ......................................................................................................................................................... 17

3.2.1. Waveform ........................................................................................................................................................................................................................ 17

3.2.2. Pitch .................................................................................................................................................................................................................................... 17

3.2.3. Cutoff ................................................................................................................................................................................................................................. 17

3.2.4. Resonance ...................................................................................................................................................................................................................... 17

3.2.5. Env Mod ........................................................................................................................................................................................................................... 18

3.2.6. Decay ................................................................................................................................................................................................................................ 18

3.2.7. Accent................................................................................................................................................................................................................................ 18

3.2.8. About the 303 envelope ....................................................................................................................................................................................... 18

3.3. Sub Oscillator........................................................................................................................................................................ 19

3.3.1. Octave................................................................................................................................................................................................................................ 19

3.3.2. Waveform ...................................................................................................................................................................................................................... 19

3.3.3. Volume ............................................................................................................................................................................................................................. 19

3.4. Vibrato ....................................................................................................................................................................................... 19

3.5. Distortion Section ............................................................................................................................................................. 20

3.5.1. Drive Knob .................................................................................................................................................................................................................... 20

3.5.2. Dry/Wet ......................................................................................................................................................................................................................... 20

3.5.3. Distortion types .......................................................................................................................................................................................................... 21

3.6. The Pattern Panel.............................................................................................................................................................. 22

3.6.1. Mode buttons and the keyboard..................................................................................................................................................................... 22

3.6.2. Hold button ................................................................................................................................................................................................................... 23

3.6.3. Legato playing and note order ....................................................................................................................................................................... 23

3.6.4. Slide, Accent, and Vibrato................................................................................................................................................................................... 24

3.6.5. Pattern info display ................................................................................................................................................................................................ 24

3.7. Advanced voice parameters ...................................................................................................................................... 25

3.7.1. Bass Boost...................................................................................................................................................................................................................... 25

3.7.2. PW...................................................................................................................................................................................................................................... 25

3.7.3. Accent Attack............................................................................................................................................................................................................... 25

3.7.4. Cutoff Range................................................................................................................................................................................................................ 25

3.7.5. Pitch Tracking ............................................................................................................................................................................................................. 25

3.7.6. Noise Gain ..................................................................................................................................................................................................................... 25

3.7.7. Clipper .............................................................................................................................................................................................................................. 25

4. ADVANCED VIEW PART 1 - SEQUENCER..................................................................................................... 26

4.1. Sequencer mode................................................................................................................................................................. 26

4.1.1. Sequencer lock............................................................................................................................................................................................................. 26

4.2. Creating or editing a sequence................................................................................................................................ 27

4.2.1. Setting the pattern length ..................................................................................................................................................................................... 27

4.2.2. Adding and removing steps.............................................................................................................................................................................. 28

4.2.3. Adjusting the octave............................................................................................................................................................................................... 28

4.2.4. Randomizers ............................................................................................................................................................................................................... 28

4.2.5. Accents, Slides, and Vibrato.............................................................................................................................................................................. 29

4.2.6. Sequence management ..................................................................................................................................................................................... 30

4.2.7. Sequence Browser.................................................................................................................................................................................................... 31

4.2.8. Sequence Scales....................................................................................................................................................................................................... 32

4.2.9. Rate and gate time.................................................................................................................................................................................................. 33

4.2.10. Swing............................................................................................................................................................................................................................. 33

4.2.11. Note playback order .............................................................................................................................................................................................. 34

4.2.12. Steps and Shift ......................................................................................................................................................................................................... 34

4.2.13. Polymetric mode .................................................................................................................................................................................................... 35

4.2.14. Transmutation........................................................................................................................................................................................................... 36

4.3. Arpeggiator mode............................................................................................................................................................. 37

4.3.1. Controls in common with sequencer mode............................................................................................................................................. 37

4.3.2. Mode Arp setting....................................................................................................................................................................................................... 38

4.3.3. What about octave range? ............................................................................................................................................................................... 39

5. ADVANCED VIEW PART 2 - MODULATORS.............................................................................................. 40

5.1. Assigning a Modulator ................................................................................................................................................... 40

5.1.1. Modulation amounts ................................................................................................................................................................................................. 41

5.2. How Modulators work .................................................................................................................................................... 43

5.2.1. Breakpoints and grab handles......................................................................................................................................................................... 43

5.2.2. Modulation presets.................................................................................................................................................................................................. 44

5.2.3. Modulation copy ....................................................................................................................................................................................................... 45

5.2.4. Polarity, Mode, and Retrigger .......................................................................................................................................................................... 45

5.2.5. Rate and tempo sync ............................................................................................................................................................................................. 47

5.2.6. Scale .................................................................................................................................................................................................................................. 47

6. ADVANCED VIEW PART 3 - EFFECTS............................................................................................................ 48

6.1. Effects routing....................................................................................................................................................................... 48

6.2. Selecting an effect ............................................................................................................................................................ 49

6.3. Effect presets....................................................................................................................................................................... 50

6.4. Effect copy ............................................................................................................................................................................ 50

6.5. Effect types............................................................................................................................................................................. 51

6.5.1. Dry/Wet slider .............................................................................................................................................................................................................. 51

6.5.2. Effects tempo sync .................................................................................................................................................................................................. 51

6.5.3. Reverb.............................................................................................................................................................................................................................. 52

6.5.4. Delay................................................................................................................................................................................................................................. 53

6.5.5. Tape Echo ...................................................................................................................................................................................................................... 54

6.5.6. PS Delay......................................................................................................................................................................................................................... 55

6.5.7. Compressor.................................................................................................................................................................................................................. 56

6.5.8. Multiband ........................................................................................................................................................................................................................ 57

6.5.9. Multi Filter ...................................................................................................................................................................................................................... 59

6.5.10. Param EQ .................................................................................................................................................................................................................. 60

6.5.11. Distortion ........................................................................................................................................................................................................................ 61

6.5.12. Bitcrusher..................................................................................................................................................................................................................... 63

6.5.13. Super Unison ............................................................................................................................................................................................................. 64

6.5.14. Chorus............................................................................................................................................................................................................................ 65

6.5.15. Chorus JUN-6............................................................................................................................................................................................................ 66

6.5.16. Flanger............................................................................................................................................................................................................................ 67

6.5.17. BL-20 Flanger ........................................................................................................................................................................................................... 68

6.5.18. Phaser............................................................................................................................................................................................................................ 69

6.5.19. Stereo Pan................................................................................................................................................................................................................... 70

7. USER INTERFACE......................................................................................................................................................... 71

7.1. Upper Toolbar......................................................................................................................................................................... 72

7.1.1. Main Menu ........................................................................................................................................................................................................................ 72

7.1.2. Preset Browser access and Name Pane..................................................................................................................................................... 76

7.1.3. Output volume .............................................................................................................................................................................................................. 77

7.1.4. Advanced Button......................................................................................................................................................................................................... 77

7.1.5. Gear icon.......................................................................................................................................................................................................................... 77

7.2. Lower Toolbar ....................................................................................................................................................................... 78

7.2.1. Parameter descriptions.......................................................................................................................................................................................... 78

7.2.2. Hold duplicate .............................................................................................................................................................................................................. 79

7.2.3. Undo, Redo, and History ....................................................................................................................................................................................... 79

7.2.4. CPU Meter..................................................................................................................................................................................................................... 80

7.2.5. Macro controls........................................................................................................................................................................................................... 80

7.2.6. Resize handle............................................................................................................................................................................................................... 81

7.2.7. Max View button......................................................................................................................................................................................................... 81

7.3. The Side Panel...................................................................................................................................................................... 81

7.3.1. Settings Tab ................................................................................................................................................................................................................... 82

7.3.2. MIDI Tab......................................................................................................................................................................................................................... 82

7.3.3. Macro Tab....................................................................................................................................................................................................................... 87

7.3.4. Tutorials........................................................................................................................................................................................................................... 89

8. THE PRESET BROWSER......................................................................................................................................... 90

8.1. Search and Results............................................................................................................................................................. 91

8.2. Using Tags as a Filter...................................................................................................................................................... 92

8.2.1. Types.................................................................................................................................................................................................................................. 92

8.2.2. Styles ................................................................................................................................................................................................................................ 93

8.2.3. Banks................................................................................................................................................................................................................................ 93

8.3. Search Results window................................................................................................................................................. 94

8.3.1. Sorting the Preset Order....................................................................................................................................................................................... 94

8.3.2. Clearing Tags .............................................................................................................................................................................................................. 95

8.3.3. Liking Presets.............................................................................................................................................................................................................. 95

8.4. Sidebar ..................................................................................................................................................................................... 96

8.4.1. My Sound Banks ........................................................................................................................................................................................................ 96

8.4.2. My Favorites.................................................................................................................................................................................................................. 97

8.4.3. My Playlists ................................................................................................................................................................................................................... 97

8.5. Preset Info Section ........................................................................................................................................................... 98

8.5.1. Editing Info for Multiple Presets ...................................................................................................................................................................... 99

8.6. Preset Selection: Other Methods.......................................................................................................................... 100

8.7. Macro Knobs ........................................................................................................................................................................ 101

8.8. Playlists ................................................................................................................................................................................... 101

8.8.1. Create your first Playlist ...................................................................................................................................................................................... 101

8.8.2. Add a Playlist ............................................................................................................................................................................................................ 102

8.8.3. Add a Preset .............................................................................................................................................................................................................. 102

8.8.4. Re-order the Presets............................................................................................................................................................................................. 103

8.8.5. Remove a Preset..................................................................................................................................................................................................... 104

8.8.6. New Song and Playlist Management........................................................................................................................................................ 104

9. Software License Agreement......................................................................................................................... 105

1. WELCOME TO ACID V!

Arturia would liketothankyoufor purchasing our Acid V.It’s a faithful recreation of the now

legendary TB-303 Bass Line,anunassuming little bass synth and sequencer module that

started out as a commercial flop,thenrosetometeoricpopularity in the hands of sound

explorers in genres including acid, techno, and house.

Aswith all Arturia V Collection instruments, westartwith meticulous attention to detail about

the behavior of the hardware original all the way down to the circuit level. Then, weadd

features that maketheinstrumentwork and makesenseintoday’scomputer-basedmusic

production environments.

Arturia - User Manual Acid V - WELCOME TO Acid V! 4

1.1. The Fall and Rise of the TB-303

In1981,Japanesekeyboard giant Roland wanted to produce a self-sequencing bass

synthesizer that could replace a bass guitar player in a band. Given that the design lead was

Tadao Kikumoto, who also designed the TR-909 drum machine, hopes were high.

However,itsoriginaltarget customers — singer-songwriters and bands — scratched their

heads. Its monophonic analog oscillator produced either a sawtooth or square wave,fed

into a 24dB-per-octavelowpass filter with very pronounced resonance.Inotherwords, it

sounded nothing likeabassguitarnomatterhowyousetthecontrols.Instead, it produced

a“squelchy,”rubbery,almostnasaltonesomewhere between a jaw harp (one can be heard

in the beginning of “Join Together” by The Who) and a thinned-out Mini.

Also,themusicians at whom it was aimed found its pattern-based interface less than

intuitive,with its constant need to toggle between play and write modes. Itwas also a

non-starter for synth players of the era, who wanted polyphony and ever-growing sound

libraries. So,theTB-303lived its first commercial lifetime mainly in the bargain bins until it

was discontinued in 1984.

Over the next ten years or so,amiracle happened. Electronic music producers

liked

its

quirkytoneandfound that beginning in the late 1980s, they could purchase units for next

to nothing. Sync input and CV/gate output meant they could sync it rhythmically with

their drum machines. The emergence of acid, techno,andhousestyles(especiallyinthe

underground music scenes of Detroit and Chicago,amongotherplaces)sawtheTB-303

used in ever more tracks. Ifyouwere on a dance floor anytime between, say, 1987 and

2000, hearing that squelchy squawk meant things were about to get

lit

Today, original TB-303 units in mint condition sometimes fetch upwards of US$3,000 on

the used gear marketplace.Thus the TB-303 is nowinthegoodcompanyofmanyelectric

instruments that sounded nothing likewhattheywere supposed to sound like(for example,

the B-3 was meant to emulate a pipe organ; the tine electric piano,anacousticpiano)but

found their own true voices because their true audiences found them.

The original TB-303. Image via Wikimedia Commons

5 Arturia - User Manual Acid V - WELCOME TO Acid V!

1.2. Why a virtual 303?

One of the most practical benefits of going virtual is to avoid the increasing cost and scarcity

of original hardware units. Plus, if you do find one,there’stheinconvenience and complexity

of getting it synced and working in a DAW-based production or performance setup.(You

DAWless and Eurorack jocks for whom this is easy are a different story. Just go buy a

RackBrute m’kay?)

Acid V displays the familiar chiclet-keyboard layout of the 303, but beneath is the Advanced

View,which includes a highly intuitivesequencer/arpeggiator with upto64steps. From this

panel you can place the accents, slides, and vibrato (separately for each step,ofcourse)

that were a hallmark of the 303 sound. You can browse,save,andloadfactory and user

sequences, or import your own. A single click exports your sequence as MIDIdatafor

further manipulation in your DAW.There’snoneofthejockeying between tracks and pattern

on the original because the Slide,Accent, and Vibrato buttons on the main panel act as

overrides, each adding its effect to the sequence.

Or,youcansimplyturnofftheinternalsequencerandrecordAcid V in External mode,as

you would any other virtual instrument — the choice is yours.

Acid V gives you more fine-grained control of the 303 sound via expanded and “under the

hood” controls such as bass boost, variable pulse width, and distortion using algorithms

curated from our extensiveFXCollection. Oh, and did wementionithasasub-oscillatorfor

bottom-end boom not possible on the original?

AcollectionofPresets from many of our best sound designers fully covers of every style of

electronic music that made the sound of the 303 what it is today.

Of course,alltheshiny newfeaturesintheworld are second to the sound being absolutely

authentic. As it turns out, we have a thing for that ...

Arturia - User Manual Acid V - WELCOME TO Acid V! 6

1.3. Acid V Feature Summary

Among Acid V’s sonic weaponry are such diverse elements as:

• Authentic 303 oscillator with sawtooth and pulse waveforms

• Faithful model of 303 diode ladder filter with cutoff and resonance

• Advanced voicing features such as bass boost, variable pulse width, accent

attack, filter cutoff knob range, circuit noise, pitch tracking, and clipping level

• Sub-oscillator with pulse, saw, and sine wave options; three-octave range

• Built-in distortion module with 14 curated algorithms

• Vibrato with adjustable speed and depth

• Advanced sequencer/arpeggiator with:

◦ Classic 303 slides, accents, and octaves, plus vibrato

◦ Sequence generation and alteration in the Advanced View

◦ Polymetric mode so your notes, accents, swings, vibrato,andeven

octaves can have independent sequence lengths

◦ 64 steps maximum

◦ External mode sequencing of Acid V in your DAW

◦ Sequence import and export

◦ Loads and loads of factory sequences and patterns

• Extensive Preset library

• Optional independent steplengthpertrack(polymetry)insequencer/arpeggiator

• Sequencer on and off modes for 303-style pattern sequencing or conventional

linear use within a DAW

• Dozens of sequencer presets with the ability to lock the sequencer to one preset

as you change patches

• Four effects slots featuring a choice of 17 effects from our latest V Collection

• Effect categories include Spatial, Distortion, Dynamics, Modulation, and Filter/EQ

• Three advanced Modulators with intuitiveworkflowtocreatecomplex

movements

7 Arturia - User Manual Acid V - WELCOME TO Acid V!

1.4. Ten TB-303 tracks to check out

Need some inspiration? “Topten”listsarealways subjective,butherearetentracksthat

cemented the TB-303 sound into history. Each should be easily searchable on streaming

services such as Apple Music, Spotify, or YouTube Music.

Song Artist Notes

Rip It Up Orange Juice First track using the 303 to hit top ten in UK Singles chart

Acid Tracks Phuture

From 1987; one of the seminal tracks of the emerging Chicago acid-

house scene

Raga Bhairav

Charanjit

Singh

Combined Indian Raga melodies with acid beats back in 1982!

Voodoo Ray

AGuy Called

Gerald

The 303 is used more as a melody or top loop than a bass

What Time Is

Love?

The KLF Big 1990s rave sound from the masters of the genre

Breathe Deeper Tame Impala

Synthpopfromthemid-2000s, perfect example of the 303

renaissance

Try Again Aaliyah Great example of acid bass in hip-hop; produced by Timbaland

Da Funk Daft Punk Listen to the bridge starting at 2:38 for maximum acid-tude

IntheHeat of the

Night

Imagination

Smooth ’80s funk makes the 303 sound almost likeafretlessbass—

its original purpose!

Everybody Needs

a 303

Fatboy Slim Thanks to Acid V, everybody can have one!

Weknow—we’veprobably left someone important out, so we’re glad user manuals don’t

have comments sections! Now, let’s get onto the business of having fun with Acid V.

Arturia - User Manual Acid V - WELCOME TO Acid V! 8

2. ACTIVATION AND FIRST START

2.1. Register, Activate, and Install Acid V

Acid V works on computers equipped with Windows 8.1 or later and macOS 10.13 or later.

You can use it as a standalone version or as a plug-in for your favorite DAW(DigitalAudio

Workstation), in Audio Units, AAX, VST2, or VST3 format.

Before you install or register the software,you’llneedtocreateaMyArturia account

here,usinganemailaddressandpassword of your choice: https://www.arturia.com/

createanaccount/

While it’s possible to handle registration, activation, and other tasks manually online,it’sfar

simpler to download and use the Arturia Software Center app,which can be found here:

https://www.arturia.com/support/downloads&manuals

You’ll enter your email address and password to set upArturia Software Center,which acts

as a central location for all of your Arturia software registrations and activations. Italso

helps you install and update your software by keeping tabs on current versions.

You can register,activate,andinstallyourproductinsideArturia Software Center by

pressing the Register a newproductbutton, and clicking the boxes to Activate and then

Install your software.Theregistrationprocesswill require you to enter the serial number

and the unlock code you received when you bought your software.

You can also do this online by logging into your account and then following the instructions

here: http://www.arturia.com/register

Once you’veregistered,activated, and installed Acid V,it’stimetoget it to talk to your

computer.

Arturia Software Center

9 Arturia - User Manual Acid V - ACTIVATION AND FIRST START

2.2. Initial setup for stand-alone use

Ifyouwould liketouseAcid V in standalone mode,youwill need to ensure that its MIDI

input/output and audio outputs are being routed properly to and from the software.You’ll

generally only need to do this once,unlessyouchangeyourMIDIcontrolleroraudio/MIDI

interface. The setup process is the same on both Windows and macOS.



!This section only applies to those of you who plan to use Acid V in stand-alone mode.Ifyouare

only going to use Acid V as a plug-in inside a host DAWorothermusic software,youcansafelyignore

this section – your host music software handles these settings.

2.2.1. Audio and MIDI settings: Windows

At the topleftoftheAcid V application is a pull-down menu. Itcontainsvarious setup

options.

Click on Audio Midi Settings to open the following window.This works in the same way on

both Windows and macOS, although the names of the devices available to you will depend

on the hardware you are using. Remember,this option is only available (and needed) in the

standalone version of Acid V.

Acid V Main Menu

Arturia - User Manual Acid V - ACTIVATION AND FIRST START 10

Starting from the top, you have the following options:

• Device selects which audio driver and device will handle playback of Acid V.

This can be your computer’s internal driver,ageneric ASIOdriver,oranexternal

soundcard or interface driver. The name of your hardware interface may appear

in the field below, depending on your selection.

• Output Channels lets you select which of the available outputs will be used to

route audio out. Ifyouonlyhavetwooutputs,this selection boxwill not be

shown. If you have more than two, you can select a specific pair of outputs.

• Input Channels normally let you select inputs of a virtual instrument for routing

and processing external audio.This is irrelevant in Acid V because it does not

feature audio input.

• The Buffer Size menu lets you select the size of the audio buffer your computer

uses to calculate sound. The latency in milliseconds is displayed after the buffer

size setting.



!Asmallerbuffermeanslower latency, i.e.ashorterdelaybetween pressing a key and hearing the

note,butloadsyourCPUmoreheavilyandcancausepops or clicks. A larger buffer means a lower

CPUload,asthecomputerhasmoretimetothink, but can result in a noticeable delay between playing

anoteandhearingit.Afast, modern computer should easily be able to operate at a buffer size of 256

or even 128 samples without clicks If you still get clicks, enlarge the buffer size until they stop.

• The Sample Rate menu lets you set the sample rate at which audio is sent out of

the instrument.



!Theoptions here will depend on what your audio device can support; nearly every device can

operate at 44.1 kHzor48kHz, which will be perfectly fine for most applications. Ifyouhaveaspecific

need to use a higher sample rate, up to 96 kHz, Acid V will happily support that.

11 Arturia - User Manual Acid V - ACTIVATION AND FIRST START

• The ShowControl Panel button will jump to the system control panel for

whatever audio device is selected.



! Note that this button is only available in the Windows version.

• Test Tone sends a short test tone when you click the Play button, to help you

troubleshoot audio issues. You can use this feature to confirm that the instrument

is routed correctly through your audio interface and that audio is playing back

where you expect to hear it (your speakers or headphones, for example).

• The MIDIDevices area will display any MIDIdevices you haveconnectedto

your computer (if any). Click the check boxtoaccept MIDIfromthedevice(s)

you want to use to control the instrument. You can select multiple MIDIdevices

at once with the checkboxes.



!Instandalonemode,Acid V listens for all MIDIchannels,sothere’snoneedtospecify

a channel.

• Tempo sets a base tempo for features inside Acid V such as LFO and effects

sync. When using Acid V as a plug-in, the instrument gets tempo information

from your host software.

2.2.2. Audio and MIDI settings: macOS

The menu for setting upaudioandMIDIdevices for macOS is accessed in the same way

as for Windows, and the setupprocessisnearlyidentical.All options work the same way

as described aboveintheWindows section. The only difference is that all macOS devices,

including external audio interfaces, use the CoreAudio driver built into macOS to handle

routing. Intheseconddropdown menu under Device,choosetheaudiodevice you wish to

use.

Audio MIDI Settings for macOS

Arturia - User Manual Acid V - ACTIVATION AND FIRST START 12

2.2.3. Using Acid V as a plug-in

Acid V comes in VST2, VST3, Audio Unit (AU), and AAX plug-in formats, for use in all major

DAW software such as Ableton Live, Cubase, Logic, Pro Tools, Studio One, and more.

When using Acid V as a plug-in, all audio and MIDIdevice settings are handled by your host

music software.Please refer to your host music software’s documentation if you haveany

questions about loading or using plug-ins.

Note that when you load Acid V as a plug-in instrument inside your host software,its

interface and settings work the same way as in standalone mode (see below), with a few

small differences:

• Acid V will synchronize to your DAW’s host tempo/BPM when sync is required

• You can automate numerous parameters using your DAW’s automation system

• You can use more than one instance of Acid V in a DAW project

• You can run the outputs of Acid V through any additional audio effects available

to your DAW, such as delay, chorus, filters, etc.

• You can route Acid V’s audio outputs creatively inside your DAW,usingtheDAW’s

own audio routing system.

Acid V's interface looks the same in plug-in mode as in standalone mode.

13 Arturia - User Manual Acid V - ACTIVATION AND FIRST START

2.3. Playing Acid V for the first time

Now that you have Acid V up and running, let’s take it for a quick test drive!

Ifyouhaven’t done so already, launch Acid V as a plug-in or as a stand-alone instrument.

IfyouhaveaMIDIcontrollersetup,useittoplaysomenotesonAcid V.You might first

need to activate your MIDIcontrollersintheMIDISettings(seeabove). You can also use

your mouse to play the on-screen keyboard or use the keys of your computer keyboard.

The large Hold button onscreen lets you removeyourmousefromthescreenorfromakey

and still keeps the sequence going.

The upanddown arrows at the topoftheinstrumentletyoustepthroughallofAcid V’s

available presets. Try playing a few,andwhenyoufindonethatyoulike,tryadjustingsome

of the other on-screen controls to see how they affect the sound.

Play with the controls, and don't worry — nothing is saved unless you specifically savea

preset (described later in this User Guide), so there is no riskyou'llmessupanyofAcid V’s

factory presets.

Wehope this chapter has gotten you off to a smooth start. Nowthatyou’reupandrunning,

the rest of this guide will help you work your way through all of Acid V’s features on a

section-by-section basis. By the time you reach the end, wehope you’ll understand all of

Acid V’s capabilities – and will be using this fantastic instrument to create equally fantastic

music!

Arturia - User Manual Acid V - ACTIVATION AND FIRST START 14

3. MAIN CONTROLS

From here you can control all key aspects of Acid V:itssoundandselectionofitspattern

sequencing, arpeggiator,andexternalmodes.You can also select sequences from the

pattern browser and transpose them using the onscreen keyboard. Since the heart of the

303 is really its pattern capabilities, weshouldmentionrightherethatyoudon'tactually

program

patterns here.Thattaskisperformed in the Sequencer/Arpeggiator controls of the

Advanced View [p.26]. Here, the main interface is for

playing

and tweaking your sounds.

3.1. Common behaviors

All Arturia virtual instruments share some common control behaviors to makeediting

sounds easier.

3.1.1. Value pop-ups

Move or hover on any control and a pop-up banner or “tool tip” will display its value.

15 Arturia - User Manual Acid V - MAIN CONTROLS

3.1.2. Parameter descriptions

Operating or hovering on any control also displays its name and a brief description of its

function in the left corner of the lower toolbar [p.78].

3.1.3. Fine adjustment

Hold the right mouse button or Control key while dragging on any knob to adjust it more

slowly. This helps when you want to dial in precise values. Ifyourmouseisequipped with

awheel,youcanholdtheControl key (Windows) or Command key (macOS) and use the

wheel to fine-tune as well.

3.1.4. Double-click for default

Double-click on any knob to return it to its factory default setting.

Arturia - User Manual Acid V - MAIN CONTROLS 16

3.2. Core Sound Controls

This is the main synth section of Acid V,replicating the monophonic sound engine of the

TB-303.

3.2.1. Waveform

Simply a toggle switch, this selects a buzzy sawtooth waveormorehollowsquarewave.

On the original hardware, this switch was found on the rear panel.

3.2.2. Pitch

This knob sets the base pitch of the oscillator. It’s bipolar,andranges from -12 to +12

semitones. At its default position of 12 o’clock, middle

= 440Hz.

3.2.3. Cutoff

This knob controls the cutoff frequency of the 24dB-per-octave resonant filter.

3.2.4. Resonance

We’vemodeledtheoriginal303’sresonanceprecisely,andAcid V can get very squelchy

indeed! Turn this knob up to see what we mean.

17 Arturia - User Manual Acid V - MAIN CONTROLS

3.2.5. Env Mod

The EnvMod knob adjusts the amount of envelope modulation applied to the filter cutoff by

the Decay knob and Accents.

3.2.6. Decay

This adjusts the Decay of only the filter envelope.

3.2.7. Accent

You actually accent a note either by checking a boxfor its stepinthesequencer [p.26] or

via external MIDIvelocity [p.82].Whenanoteisaccented,twothings happen: Itgets louder,

and the decay of the filter envelope becomes shorter,resultingamorepronouncedfall-off.

The Accent knob determines the degree to which both of these things happen.

3.2.8. About the 303 envelope

The envelope generators in the original TB-303 are actually so simple that they can confuse

traditional synth players. There are twoofthem:onefor volume and one for the filter,but

the Decay and EnvMod knobs as described aboveonlyaffectedthefilterenvelope.The

volume and filter envelope shapes were more or less simple gates, with no adjustable attack

or release phases. With most synth bass sounds, the character and emotion comes from

howfast the tone goes from being brighter to duller — more harmonics to fewer — or if

that motion occurs at all. So,given that the original 303 was meant to be an inexpensive

instrument, its manufacturer chose to focus envelope control on this “money shot” aspect of

the sound. Thus, what the accent knob is adjusting is really twothings at once: the level of

the volume (VCA) envelope, and the decay time of the filter envelope.

Arturia - User Manual Acid V - MAIN CONTROLS 18

3.3. Sub Oscillator

Users of the original TB-303, or any recent hardware or software emulation focused

exclusively on originality, may havewished they could thicken upitslowend.Afterall,the

original said “Bass Line” right on the panel. Acid V’s sub-oscillator grants this wish with three

simple settings:

3.3.1. Octave

This knob adjusts whether the sub-oscillator pitch is the same as the main pitch, or one

octave lower, or two.

3.3.2. Waveform

Acid V offers a choice of square, sawtooth, and sine waveforms for the sub-oscillator.

3.3.3. Volume

Turn it up! (Or down if you want a more original 303 character. We’re not here to judge,just

to give you what you want.)

3.4. Vibrato

Vibrato on a bass machine? Certainly — bass players use it, but usually in small doses on

certain notes. Acid V’s vibrato works similarly, applying only to notes in the Sequencer [p.26]

whose steps havetheVibrato boxchecked. The Speed and Amount knobs control those

aspects of the vibrato only for notes where it applies.

19 Arturia - User Manual Acid V - MAIN CONTROLS

3.5. Distortion Section

Going far beyond the inherent dirtiness of the 303 sound, Acid V’s distortion circuit employs

asetofalgorithmsfromourdistinctiveFXCollection, curated specifically to enhance the

303 sound.

3.5.1. Drive Knob

This sets the input or “pre-gain.” Inotherwords, how“hot”theincoming signal will drivethe

distortion effect.

3.5.2. Dry/Wet

Balances the undistorted and distorted sounds.

Arturia - User Manual Acid V - MAIN CONTROLS 20

3.5.3. Distortion types

Select a distortion algorithm by browsing with the left and right arrows, or clicking on the

algorithm name bar to bring up the following menu:

There is also an algorithm-based distortion effect in the Effects Section [p.48].Thetwohave

slightly differing algorithm sets and may be used together — and it’s worth noting that

the effects-based distortion can get even more aggressive.Weinvite you to explore these

distortion types for yourself and pick the ones that suit your music best — each is either a

little or a lot different from the other!

21 Arturia - User Manual Acid V - MAIN CONTROLS

3.6. The Pattern Panel

Here is where the real fun begins! This area resembles the chiclet keyboard on the original

303, but works somewhat differently. It’s essentially a simplified version of a sequencer.

Also easier,wehope,asyouwill not be creating patterns or arpeggiations here — again, that

happens in the sequencer [p.26] — just deciding how they will be played.

3.6.1. Mode buttons and the keyboard

Weshouldstartwith these because they determine howAcid V’s pattern-pumping power

behaves.

3.6.1.1. Seq mode

When this is selected, the underlying sequencer is active,andplayingnotesonthechiclet

keys onscreen, or on a connected MIDIcontroller,transposesthemusical key of the

sequence.

3.6.1.2. Arp mode

InArpeggiator mode,theup-to-64-stepsequencerbecomesanarpeggiator(with the same

maximum number of steps) with multiple note-order modes [p.37].Now,playingoneormore

notes on your MIDI controller will determine the notes in the arpeggio.

3.6.1.3. Ext mode

External mode disables Acid V’s own pattern capabilities if you want to sequence it in a

DAW,trigger it from an external MIDIsequencer,orjustpluginyourMIDIcontrollerand

play it like a super-cool bass monosynth.

Arturia - User Manual Acid V - MAIN CONTROLS 22

3.6.2. Hold button

This button essentially functions likeasustainpedalandfreesyourhands.InSeqandArp

modes, the pattern will continue to play after you press a key (onscreen or on a controller),

and striking a new key will transpose it.

InExtmode,theHold button does not function, as weassumeyou’lluseahardware hold

button or sustain pedal. However,ifyouhaveanyofAdvanced Views open, the pattern

panel and hold button become obscured, so weputaduplicate hold button [p.79] in the lower

toolbar so you can still keep your patters running.



♪ Remember that Acid V is a monophonic-only synth with last-note priority.

3.6.3. Legato playing and note order

Acid V has particular behaviors when it comes to note play order when you’re triggering it

from an external keyboard (or pad device). Here’s how to make them work for you.

3.6.3.1. Legato in Seq mode

In Seq mode,ifyouplayasecondkey

legato

(before releasing the first key), the pattern

keeps playing. The key will transpose but the pattern will

not

reset to its first step.(Ifyoudo

not play legato, it will.)

Likewise,ifyouplayasecondnotewhile holding the first, then release the second note,the

pattern will momentarily shift to the second note’s key without resetting to its first step.

IftheHold [p.23] is engaged, playing newkeys (onscreen or on a controller) will keepthe

sequence going, transpose it, and not reset it to its first step, as above.

3.6.3.2. Legato in Arp mode

In Arp mode,playinglegatowill simply add newnotestothearpeggio,which will be heard

according to the selected play order [p.37] mode.

Again, you can engage the Hold function to do this without needing to play legato.

3.6.3.3. Legato in Ext mode

Play legato in Ext mode,andthefilterandvolume envelopes will not retrigger. Also,aslight

amount of portamento (glide) will be heard between notes. IfyouhaveaMIDIcontroller

hooked up,keepathumb on one key and then alternately play the key an octaveupwith

your pinky finger to hear this in action.

23 Arturia - User Manual Acid V - MAIN CONTROLS

3.6.4. Slide, Accent, and Vibrato

When a pattern is running in Seq or Arp modes, the red LEDs abovethesebuttonswill

light when a stepoccursthathasslide,accent,and/orvibratoapplied. Pressing any of the

buttons acts as an

override

,thatis,itapplies slide,accent,orvibratotoallsteps played as

long as the button is held. Onscreen, these buttons havemomentary(non-latched)behavior.

In Ext mode,pressinganyofthemsimplyapplies that attribute to any notes you’re playing.

3.6.5. Pattern info display

This little area shows a fewusefultidbitsofinformation, and can call upabrowser where

you can select sequencer patterns from factory and user banks — including ones you’ve

imported.

In the lower row:

• The left number shows the step the pattern is at in real time

• The middle number displays the total number of steps in the pattern

• The icon on the right is either six dots (representing steps) in Seq mode or a tiny

keyboard in Arp mode

3.6.5.1. Opening the sequence browser

Intheupper rowofthepatterndisplay,youcanchangesequencerpatternsusingtheleft

and right arrows. Clicking on the pattern name will open uptheSequence Browser [p.31],

where you can do this in a more comprehensive,searchable way. Note that this will flip

Acid V into the Sequencer/Arpeggiator pageoftheAdvanced View,soyou’llneedtoclickthe

Advanced button [p.77] to return to the main view.

Arturia - User Manual Acid V - MAIN CONTROLS 24

3.7. Advanced voice parameters

Clicking the “carat” button abovetheAcid V logo on the upper right side opens upaslide-out

drawer of “under the hood” parameters that giveyoucontrolover the sound that no original

303 owner could dream of — unless perhaps they were a circuit-bender and handy with a

soldering iron. Left to right, these are:

3.7.1. Bass Boost

Asitsnameimplies, this boosts the bass rangeoftheoscillator.You can combine this with

the Sub-Oscillator [p.19] for fatness some listeners might confuse with a Mini!

3.7.2. PW

This stands for pulse width, and when the square waveform [p.17] is used, it varies the

width of the waveform as on many popular analog synths. This creates a definite changein

harmonic content and tone, but one that’s subtler than sweeping a lowpass filter.

3.7.3. Accent Attack

On an original 303, you could not adjust the attack time of,well, much of anything. Here,

Acid V allows you to vary the attack time of the filter envelope of notes that have accents.

3.7.4. Cutoff Range

This knob adjusts the rangeofthemainCutoff [p.17].You can thus use it to “scale” the

primary Cutoff knob’s minimum and maximum frequencies, for subtler or more dramatic

filter sweeps when you modulate the knob.

3.7.5. Pitch Tracking

Analog oscillators didn’t turn input voltageintomusical pitch with perfect accuracy. This

setting introduces subtle variations in what pitch the oscillator plays in response to a given

MIDInote.It’s bipolar,andeven at its extreme ends, this is not enough to create an “out of

tune” sound — it just adds a touch more analog realism.

3.7.6. Noise Gain

Part of the 303’s character was that it was not a perfectly clean sounding bass machine,so

Acid V offers a setting to emulate noisy analog ICchips. Again, this is nothing as obvious as

the white noise sources found on many analog synthesizers.

3.7.7. Clipper

All 303s clipwith the accent and master output knobs set at maximum. This allows you to

more easily cliptheoutputstageofAcid V if a dirty sound is desired. It’s a separate feature

from the other distortion [p.20] features and effects in Acid V.

25 Arturia - User Manual Acid V - MAIN CONTROLS

4. ADVANCED VIEW PART 1 - SEQUENCER

At the heart of Acid V is a powerful 64-stepsequencerandarpeggiatorthatdwarfs the

capabilities of the original hardware,nottomentionanymodernemulation focused solely

on vintageauthenticity.ClicktheAdvanced button [p.77] at the toprightoftheUpper Toolbar,

then the green Sequencer tab, to get here.

4.1. Sequencer mode

The Seq and Arp buttons at the topleftofthis area mirror those on the main panel, selecting

the mode for the pattern generator. Also note the overall on/off button to the upper left,

which disables the sequencer without deleting any information.

4.1.1. Sequencer lock

When the padlock icon appears locked, changing an overall Acid V Preset in the Preset

Browser [p.90] does

not

changethesequencerpatternorotherinformation. This applies

to both Sequencer and Arpeggiator modes. So,ifyouhaveapatternyoulikebutwant to

browse sonic personalities for it, you can do so easily.

Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER 26

4.2. Creating or editing a sequence

Wehavecarefullymodeledthegatingbehavior,accents,slides,andotheraspectsofthe

original’s sequencer,allofwhich are an indispensable part of its unique sound. However,

wehavemadeiteasier to create patterns using an intuitive“pianoroll”interface,whereyou

can tweak almost everything graphically.

4.2.1. Setting the pattern length

Grab the vertical blue handle,which will usually be found at the right side of the window,

and slide it back and forth to adjust the overall length of the pattern.

You can also set the maximum length directly in the Steps [p.34] field.

Also,don’tmiss the horizontal scroll bar along the bottom. Itgives you access to the full 64

steps.

27 Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER

4.2.2. Adding and removing steps

The fact that Acid V is monophonic makes things somewhat simple here.Rows are steps,

and notes ascend in a column.

• Click on any step’s rectangle to add that note at that step.Therectanglewill

illuminate in green.

• Right-click to remove the note.

• “Draw” quick sequences by sweeping the mouse cursor across the grid.

4.2.3. Adjusting the octave

Acid V has a four-octaverangefor each step.Changetheoctavefor a given stepwith the

vertical slider at the top of the column.



♪ This can takealittlegetting used to compared to a conventional MIDIpianorolleditor,because

the same note in different octaves can appear in the same row.Suppose you wanted to create a simple

pattern where the same note jumped upanddown an octavein

.Simply click in as many Cs as

you want — which will all appear in the same row—thenusetheoctavesliders.Noticethattheslider

positions change color to indicate the selected octave.

4.2.4. Randomizers

There are two randomizers in Acid V: one for notes and one for octaves.

4.2.4.1. Note randomizer

Hover over the note name column and it will turn into an icon that looks likegaming dice.

Dragging upordown on this will increase or decrease the probability that a different note

than the one set will be played as the sequence runs.

4.2.4.2. Octave randomizer

Likewise,hover over the word “Octave” abovethenotecolumntobringupitsdiceicon.This

changes the probability that any note will sound at a different octave than the one set.



♪ Since you can randomize notes and octaves at the same time,invarying degrees, you can come

up with some pretty crazy results and inspiring song starters.

Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER 28

4.2.5. Accents, Slides, and Vibrato

Here is howyouaddtheaccentsandslidesthatmadethe303famous, as well as the

vibrato unique to Acid V.Across the bottom of the piano roll are three checkboxes: Slide,

Accent, and Vibrato. Simply check one or more for the attributes you want on that step.

4.2.5.1. How accents work

Again, an accent [p.18] both increases the volume and shortens the filter envelope decay of

the note played at a given step.Bothofthesearegoverned by knobs wecovered in the

chapter on the main panel [p.15].

4.2.5.2. How slides work

A slide introduces a small amount of portamento,(pitchglideupordown), between the step

it is applied to and the

step.(Ifyouplaceaslideonstep1thepitchwill glide from

the final step in the pattern.)

4.2.5.3. How vibrato works

Vibrato in Acid V is intentionally subtle,without the extreme depth you might hear on a synth

meant for leads. The speed and amount are controlled by the largeknobsintheVibrato

[p.19] section of the main panel.

29 Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER

4.2.6. Sequence management

Ifyoulikethepatternyou’vecreated,youcansaveitbyclickingthediskiconshown above,

which will prompt you to saveitasausersequencewith a dialogue boxwhereyoucan

type in a name:

4.2.6.1. Share sequence

The “share” icon to the diskicon’srightexportsyoursequenceasaMIDIfileyoucanthen

drag-and-drop directly into your DAW by grabbing the little icon that is generated.

4.2.6.2. Clear sequence

Be careful with the eraser icon! Itclearstheentiresequence.Actually, if you accidentally

clear a sequence,Acid V has extensiveundoandhistory functions in the lower toolbar [p.78],

so you can always go back in time.

4.2.6.3. Duplicate pattern

Click the x2 icon if you want to “roll out” a series of notes quickly. This will duplicate the

full length of the existing pattern and append it to the end. The overall sequence length will

automatically double.

Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER 30

4.2.7. Sequence Browser

Belowthesequencemanagement icons is a field with the current pattern name and two

arrows. You can browse patterns using the arrows, or click the name to open the Sequence

Browser. Neither action will change the overall Acid V Preset.

Once inside the browser,youcanchoosefactory or imported sequences directly by name.

Click OK to load the sequence and exit the browser.



!You must haveimportedsomesequencesfor the Imported button to be visible.Ithasatrash-can

icon that will delete the entire bank.

Click the X at upper right to exit the browser without loading a new sequence.

4.2.7.1. Importing Sequences

You can import sequences by moving files in our proprietary format in the folder /Library/

Arturia/Samples/Acid V/User/Sequencer/User. Our Sequence Scales [p.32],especiallythe

”Acid” ones, can really makethemostofimportedsequencesand,sotospeak,303-ify

them.

31 Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER

4.2.8. Sequence Scales

Click the Scales field towards the left of the Sequencer windowtoaccessoptions for scales.

We’vedividedthemintotwocategories:

Acid

,which are chromatic scales customized to

invoketheclassic303andthemusical styles in which it was heard; and

Classic

,which are

arangeofthe“usualsuspects”ofalternativescalesaccordingtomusic theory. These can

restrict the notes the sequencer will play to only those that are part of the selected scale.

The graphic at the bottom of the Scales menu shows which notes are activefor a given

scale.

4.2.8.1. Custom scales

Click

Custom

and the graphic at the bottom of the Scales menu becomes adjustable.You

may then click each note’s icon to make it available or unavailable to the custom scale.

The sliders belowthenoteiconsaddarandomfactor. Each one changes the probability that

its note will be played at a given step when the note randomizer [p.28] is in use.

Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER 32



♪ Here’s howtothink of the relationshipbetween these sliders and the dice icon seen when hovering

over the note name column, which controls the overall note randomizer. That dice icon increases the

odds that at any step,adifferentnoteisgoingtobeplayedthantheoneyou’vechosenfor the step.

Then, in terms of what that alternate note is going to be,theslidersheregiveeachnoteinthescalean

advantageordisadvantage.It’s likeaprizedrawing: The winning ticket is chosen blindly out of a hat,

but you could guarantee a win by purchasing every available ticket, which is likeraisinganote’sslider

all the way. On the other hand, you can’t win if you don’t play, which is likelowering a note’s slider all

the way.

4.2.9. Rate and gate time

The Rate parameter sets the sequencer tempo.Clickthegreenword belowtheknobto

access tempo sync options:

• BPM: Absolute beats per minute, independently of your host/project tempo

• Bars: Either a division or a multiple of musical bars relativetoyourDAWtempo,

with a “straight” feel

• Triplet: LikeBars,butthreeeighth-notesareplayedinthespaceofonequarter-

note

• Dotted: LikeBars,with a pair of eighth-notes played as a dotted eighth then a

sixteenth

Gate time adjusts the windowoftimeinwhich each stepisallowed to “speak.” Inpractice,

this can sound like the step has more or less sustain.

4.2.10. Swing

Swing is often described as a “behind the beat” rhythmic feel, and Acid V has a rangeof50

to 75percent,which you changebydraggingupordown on the number. Fifty percent is

closest to a “straight” feel.

33 Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER

4.2.11. Note playback order

Acid V offers four options for note play order in Seq mode.Access them using the green

arrow to the right of the “Playback” name field.

• Forward: Sequence plays from step 1 to its final step.

• Backward: Sequence plays from its final step back to step 1.

• Forward Backward: Sequence plays from step1toitsfinalstep,thenreverses

direction and plays back to step1.This is an “exclusive” order,meaningthatthe

first and final steps are not repeated.

• Random: Steps of the sequence play in random order.

4.2.12. Steps and Shift

The Steps parameter simply mirrors the action of the vertical blue handle [p.27] for setting

the pattern length.

The upanddown arrows in the Shift section transpose the entire pattern upordown by one

semitone for each click.

The left and right arrows do something more interesting wecall

rotation.

They shift steps

horizontally, by one stepfor each click. For example,clickingrightina16-stepsequence

would turn step1intostep2,andsoon,alltheway until the final stepbecomesthenew

step 1.

Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER 34

4.2.13. Polymetric mode

Click the Polymetric name field on the left side to enter Polymetric mode,andyouwill see

something liketheimageabove.Instead of one grab handle [p.27] to set the pattern length,

there are now five separate ones for Octave, Notes, Slide, Accent, and Vibrato.

The positions of each of these handles means that the pattern will reset to step1atdifferent

times with respect to that handle’s attribute (notes, accents, etc.). Effectively, this lets you

mix things upsothatagiven stepmaysometimesplayatadifferentoctave,haveornot

haveanaccent,andsoforth. This can be a powerful tool for making sequences more varied

and less robotic.

4.2.13.1. Polymetric reset

Drag upordown in the Reset field to set the number of steps at which the pattern will

“realign.” This does not mean it starts over at step1.Itmeansthatwhenthespecified stepis

reached, the settings you originally made between a step’s note,itsoctave,andwhetherit

has an accent, slide, or vibrato will return to normal, i.e. what the onscreen controls show.

35 Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER

4.2.14. Transmutation

This final section in Seq mode makes two very interesting alterations.



♪ Try the Transmuter in conjunction with the Acid scales to get the best result.

4.2.14.1. Generate

Clicking the “beaker” icon doesn’t turn lead into gold, but performs some sonic alchemy.

Itsimplychanges everything up: notes at each step,octaves, and which steps get a slide,

accent, and/or vibrato.You can click it to transform the existing sequence,thenmovethe

amount up or down to adjust the degree of generativity.

4.2.14.2. Density

Density works in the main sequencer interface and by selecting patterns from the Sequence

Browser. The default value of this parameter is 1.00, at which all the steps in the pattern

play. Reducing it thins out the sequence by muting steps. They’re not deleted — turning it

back upwill restore them. With Density at minimum, the entire sequence is silent. Adjust

density by first selecting a pattern from the sequence browser,thenbyraisingorlowering

the knob.



♪ One good use of the Density setting is for musical bridges or breaks where you want the bass line

to be more sparse.

Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER 36

4.3. Arpeggiator mode

InArpeggiator mode,thesequencerinAcid V turns into an advanced arpeggiator. What’s

the difference? Where the sequencer plays notes you specify for each step,thearpeggiator

turns real-time note input from a connected MIDIcontrollerintopatternsthatascend,

descend, or play in other orders you can set.

Said more simply, if you hold a chord on a keyboard, the Arpeggiator mode plays the notes

of the chord as a pattern.

InArpeggiator mode,thepiano-rollnotegridisgreyed-out,butyoucanstillsettheoctave,

slide, accent, and vibrato for each step.

4.3.1. Controls in common with sequencer mode

Many functions and settings are shared with Seq mode,solet’sdoaquicksummaryof

those before proceeding to what’s unique about Arp mode.Thebulletsbelowlinkbackto

the relevant sections about the sequencer. (There’s no need to repeat all this information, as

this chapter is getting long!)

37 Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER

• Scales [p.32] including the custom scale

• Rate, tempo sync, and gate time [p.33]

• Swing [p.33]

• Playback order [p.34]

• Step length and Shift [p.34]

• Polymetric mode [p.35]

Note that the Transmutation [p.36] feature is unavailable in Arpeggiator mode.

4.3.2. Mode Arp setting

This corresponds to the “arpeggiator mode” setting found on many synthesizers. Itcontrols

note playback order in a different way from the playback setting mentioned above [p.34].

Namely, it relates the note order as heard to whatever you play on a keyboard controller.

Clicking in the name field brings up the following menu:

•

Order:

Note order follows the order in which you pressed keys

•

Reverse:

Like Order, but the note order heard is the opposite of what you played

•

Up:

Note order ascends in pitch

•

Down:

Note order descends in pitch

•

Up&Down Inclusive:

Note order ascends and descends, with the highest and

lowest notes repeated

•

Up&Down Exclusive:

Note order ascends and descends, with the highest and

lowest notes

not

repeated

•

Random:

A random note order is generated based on played keys



♪ The Playback [p.34] setting applies on topofwhatever note order is chosen here,allowing for

creative possibilities. Setting both to

Random

is particularly interesting!

Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER 38

4.3.3. What about octave range?

Most arpeggiators haveanoverall setting for octaverange,soyoumight havenoticedthe

absence of one here.Remember that Acid V has a four-octaverangefor

each

step,andthat

this applies in Arp mode as well as Seq mode.

That’s about all there is to Arpeggiator mode.Next,let’smoveontoexploringthehighly

flexible Modulators in Acid V!

39 Arturia - User Manual Acid V - ADVANCED VIEW PART 1 - SEQUENCER

5. ADVANCED VIEW PART 2 - MODULATORS

Modulators in Acid V are a very powerful means for applying variation to virtually any

parameter in the instrument. Ifyouarefamiliar with synths, you might be asking “What

kinds of modulation sources are wetalkingabouthere?Envelopes or LFOs?” The answer is:

both! You can program the Modulators to act in either way, and they go beyond what either

aconventional LFO or an ADSR envelope can do,althoughtheycancertainlyplaythose

roles with ease. Acid V has three Modulators, which function identically.

Access the Modulators by first going into Advanced View [p.77] then clicking any of the

Modulation tabs.



♪ Users of other Arturia instruments will knowmodulatorsbyadifferentname:Functions. But this

time around we wanted to make it sound less like you’re in math class.

5.1. Assigning a Modulator

Before weget into howModulators work, let’s cover howtoassignonetoadestinationin

Acid V.OneachoneoftheModulation tabs, there is an animated thumbnail that displays

the waveform or action of that Modulator. Click on this thumbnail and drag it to whatever

you want to modulate, such as the filter cutoff, like so:

Arturia - User Manual Acid V - ADVANCED VIEW PART 2 - MODULATORS 40

You can assign the same Modulator to multiple destinations or multiple Modulators to the

same destination.



♪ Don’t limit yourself to the main panel when it comes to modulation destinations. Many settings

inside the Sequencer/Arpeggiator,Effects,andeven the Modulators themselves (such as rate) are

eligible targets.

5.1.1. Modulation amounts

Once a Modulator is assigned, hovering over the destination knob shows a pop-upmini-

knob, like this:

This controls the modulation amount for the destination, and it’s bipolar,meaningthatyou

can turn it to either side of 12 o’clock to set positiveornegativevalues. Anamountcontrolfor

each Modulator assigned to the destination will appear,color-codedtomatchtheModulator

tab. Here is what Modulators 1 and 2 assigned to filter cutoff would look like:

41 Arturia - User Manual Acid V - ADVANCED VIEW PART 2 - MODULATORS

Operating or hovering on a mini-knob also shows a collar around the destination knob to

indicate the modulation amount, matching its color:

You can also hover over the animated thumbnail on any Modulator tab to viewits

destinations, and control their amounts with horizontal sliders that mirror the action of the

mini-knobs.

This is useful for when you haveaModulator assigned to several destinations and don’t

want to hunt around the interface to control them all. Notice also that each destination has its

own on/off button. This lets you shut off modulation only to that destination, while retaining

the modulation amount you’ve set in case you turn it back on later.

Arturia - User Manual Acid V - ADVANCED VIEW PART 2 - MODULATORS 42

5.2. How Modulators work

Aswesaid,Modulators in Acid V can work likeenvelopes, LFOs, or likeamadscientist

combined both into a hybrid and gaveitsuperpowers. Basically, they makeiteasier than

ever to turn what you see on the graph into what you hear.

5.2.1. Breakpoints and grab handles

Modulators let you create any curveorshapeofmodulationyouwant beginning with two

simple tools:

breakpoints

and

grab handles

breakpoint

is a point in time at which the

modulation changes direction. (Actually, it doesn’t haveto—youcoulduseabreakpointas

aspotwhere,for example,thecurveincreasesordecreasesinsteepness — but changing

direction is usually what a breakpoint is for.)

Left-click on the graph to add a breakpoint. Right-click on the point to delete it.

Between any twobreakpointsisa

grab handle

that you can drag to changetheshapeor

intensity of the curvebetween those twopoints.Leavingahandleinmid-position would

create a more or less straight line between points. Dragging it as far as it will go in a

direction generally creates a steep “knee” shape.

Between grab handles and breakpoints, any shape can be created, from a simple sine wave

for an LFO to a conventional synth-style ADSR to extremely complex shapes.

A breakpoint is circled in red; a grab handle in yellow

43 Arturia - User Manual Acid V - ADVANCED VIEW PART 2 - MODULATORS

5.2.2. Modulation presets

You can create and saveyourown Modulator shapes in Acid V,butyouneednotever worry

about it if you’d rather just get on to making music. Modulators offer 18 shape presets, six of

which can be accessed by clicking the six buttons shown above.Or,browse the full menu

with the left-right arrows, or by clicking on the name field, which will display this menu:

At the bottom of this menu is a “Saveas”option. Click this to saveashapeyou’vecreated(a

dialogue pop-upwill prompt you to name it), which can then be called upfromwithin any

overall Acid V Preset.

Access six basic Modulator waves with the buttons on the right, or browse all 18 options by

clicking on the name field on the left

The full menu of

Modulator presets

Arturia - User Manual Acid V - ADVANCED VIEW PART 2 - MODULATORS 44

5.2.3. Modulation copy

Clicking the icon that looks liketwooverlapping squares lets you copy all of the settings of

the current Modulator to either of the other two.

5.2.4. Polarity, Mode, and Retrigger

Click any of these three fields to bring up its menu.

5.2.4.1. Polarity

Click on the Unipolar/Bipolar field to select the current Modulator’s polarity.

•

Unipolar:

The Modulator sends only positivevalues and the graph has no center

line

•

Bipolar:

The Modulator sends positiveandnegativevalues and the graph does

have a center line

5.2.4.2. Mode

The Mode setting is an important one,becauseitselectswhethertheModulator behaves

more like an envelope or more like an LFO.

•

One:

The modulation shape plays through once, i.e. more like an envelope

•

Loop:

The modulation plays repeatedly and can retrigger from the start point

based on a selectable event

45 Arturia - User Manual Acid V - ADVANCED VIEW PART 2 - MODULATORS

•

Run:

The modulation plays repeatedly and only returns to the start point when it

reaches the end

5.2.4.3. Retrigger

One-shot and Loopmodesallowfor the modulation to retrigger,thatis,startover from its

initial point, based on one of four events, which are selected from the above menu.

•

Key Press:

When an incoming MIDI note is received from a controller or a DAW

•

Note:

When the Sequencer/Arpeggiator plays a new note

•

Accent:

Like Note, but only on notes that have accents

•

Seq Restart:

When the Sequencer/Arpeggiator restarts from the beginning for

any reason



♪

Seq Restart

is a particularly cool option, since other things — such as whether you play legato — can

restart the Sequencer from the beginning. This lets you lock a modulation’s character to the musical

statement you’re making with the series of notes in the Sequencer.

Arturia - User Manual Acid V - ADVANCED VIEW PART 2 - MODULATORS 46

5.2.5. Rate and tempo sync

Of course,Modulators in Acid V sync to your project tempo — or not. The knob adjusts the

rate. Click on the name field to bring up the options menu:

•

Hz:

Unsynced, the Modulator free-runs and the rate is expressed in Hertz

•

Bars:

Either a division or a multiple of musical bars relativetoyourDAWtempo,

with a “straight” feel

•

Triplet:

LikeBars,butthreeeighth-notesareplayedinthespaceofonequarter-

note

•

Dotted:

LikeBars,with a pair of eighth-notes played as a dotted eighth then a

sixteenth

5.2.6. Scale

The final setting in the Modulator is Scale,which adjusts the output of the Modulator

independently of any other amount settings, such as those involved with routing [p.41].This

is useful for setting an absolute “ceiling” on howintensethemodulationcanget, then using

depths at individual destinations for further fine-tuning.

47 Arturia - User Manual Acid V - ADVANCED VIEW PART 2 - MODULATORS

6. ADVANCED VIEW PART 3 - EFFECTS

Acid V includes a suite of powerful stereo effects curated from our latest V Collection of

virtual instruments. You can use uptofour effects at once,andeachofthefour effects slots

offers a choice of 17 effect types. Enter Advanced View [p.77] then click the Effects tab to

navigate here.

6.1. Effects routing

Effects routing in Acid V is “hard wired” as serial. The signal is first processed by the effect

in the slot at far left, then simply moves from left to right. This makes sense,sinceAcid

Vamonophonic instrument and there’s no possibility of different voices or simultaneous

sounds needing to go through different effects. Plus, it keeps things simple.Justsetupthe

effects chain you want, not unlike a guitar pedalboard.

There is a global on/off button on the Effects tab,plusindividualon/offbuttonsfor each of

the slots. Inallcases,thesewill disable the effect(s) without losing any of their settings. This

is a great tool for comparing dry and wet sounds as you craft your tracks.

Acid V effects are routed serially

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 48

6.2. Selecting an effect

Click the name field at the topofanyoftheeffectsslots(youcanalsoclickanyempty

square that says “none” aboveit)tobringuptheeffectsselectionmenu.Theeffectsare

divided into five categories to make choosing a little easier.

•

Spatial:

Reverb and delays

•

Dynamics:

Compressor and multi-band compressor

•

Filter/EQ:

Synth-style multi-filter and parametric EQ

•

Distortions:

Algorithmic distortion as well as bitcrusher

•

Modulations:

“Super Unison,” choruses, flangers, phaser, and stereo panner

The full list of effect types [p.51] with descriptions of all their parameters is just below.

Acid V offers 17 effects in five categories

49 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

6.3. Effect presets

Each of the 17 effect types in Acid 3V comes with a handful of presets, though of course

weencourageyoutotwist those knobs and create your own. That said, the presets can be

great starting places, not to mention convenient for when you want to grab a quick sound,

so please do explore them all. Notice the “Saveas”option, which will bring upadialogue

boxthatpromptsyoutonameandsaveanysettingsyoulikeasyourown FX preset. This

may be then called up from within any overall Acid V Preset.

6.4. Effect copy

Click the “overlapping squares” icon at the toprightofanyoftheslots’namefields to copy

the effect you’re working on to any of the other three slots. This brings over both the choice

of effect and all the settings at the time you perform the copy operation.

The factory presets for

the Delay effect in Acid V

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 50

6.5. Effect types

Nowit’stimetomeeteacheffecttype individually. Ingeneral, you can adjust at least some

of the parameters that are also adjustable with knobs or sliders by clicking and dragging

inside the effect’s graphic visualizer. Wewill flag such settings with

(H)

for those you can

drag horizontally and

(V)

for those you can drag vertically.

6.5.1. Dry/Wet slider

Every effect except for the Parametric EQ and Stereo Pan has a horizontal slider for Dry/

Wet mix, i.e. how much pre-effect vs. post-effect signal you hear.



♪ Remember that due to the serial routing, a sound that’s relatively dry with respect to one effect

may still be carrying a lot of the previous one in the chain.

6.5.2. Effects tempo sync

The Spatial effects as well as every Modulation effect except Super Unison and Chorus have

tempo-sync options for their time or rate parameter,accessedbyclickingonthegreen

word next to the parameter name belowtheknob.Theseshouldnowbefamiliar from the

sequencer and modulators, and are:

• Unsynced

• Sync

• Sync triplets

• Sync dotted

Now let’s visit the effects in the order in which they appear on the effects menu.

51 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

6.5.3. Reverb

Reverb is the sound of a space – a recording studio,concerthall,stairwell, tiled bathroom,

you name it. Reverb is often used as the final effect in a chain to put everything else that’s

going on into the same acoustic space, lending cohesiveness to the sound.

Control Description

HPF Reduces the high-frequency content before processing

LPF Scoops out the low-frequency content before processing

Pre-delay Sets the amount of time before the input signal is affected by the reverb

Decay (V) Determines the length of time the reverb effect will last

Size (H) Adjusts the size of the room: counter-clockwise is smaller, clockwise is larger

Damping Controls the rate at which the high frequencies decay

MS Mix Adjusts the reverb from mono to an increasingly wide stereo space

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 52

6.5.4. Delay

Delay is a generic term for any effect that makes a copy of an input sound and repeats it

ashorttimelater.TherearethreedelayeffectsinAcid V,andthis first one sounds good all

around.

Control Description

HPF Higher values cause increased reduction of low-frequency content with each echo

LPF Higher values cause increased reduction of high-frequency content with each echo

Rate (H)

Changes the length of the delay, with unsynced and tempo-sync options (sync, triplets,

dotted)

Fine Lets you fine-tune the delay time set by the Rate knob with +/- 30ms of delay time.

Feedback

(V)

Adjusts how many times the delay will repeat

Stereo

Width

Higher values increase the distance between the left and right iterations of the echoes

Ping Pong Toggles alternating left/right echoes with exact rhythmic spacing

53 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

6.5.5. Tape Echo

Tape Echo is a type of delay characteristic of early tape-based delay machines such as

the Maestro Echoplex and Roland Space Echo.Input sounds are recorded to a loopoftape

with one or more playback heads to create the echoes. Because tape loops can be unstable

and shift in pitch and timbre,theyproduceaneffectthatiswarmer and less precise than a

digital delay.

Control Description

Input Adjusts the incoming signal to achieve varying amounts of analog saturation.

Time (H) Changes the length of the delay, with unsynced and tempo-sync options

Fine Lets you fine-tune the delay time (set by the Time knob) with +/- 30ms of delay time.

Intensity (V) Sets the feedback amount of the delayed signal.

Stereo Width Higher values increase the distance between the left and right iterations of the echoes

Ping Pong Toggles alternating left/right echoes with exact rhythmic spacing

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 54

6.5.6. PS Delay

PS stands for pitch-shifting delay, and is a classic effect popularized by the Eventide

Harmonizer. Itworks likeaconventional delay, but in addition to being fed back to create

echoes, the delayed audio signals are subjected to a pitch shift, either up or down.

Control Description

HPF Controls the cutoff of a highpass filter that affects the delayed signal only

LPF Controls the cutoff of a lowpass filter that affects the delayed signal only

Time (H) Sets delay time, with unsynced and tempo-sync options

Feedback Controls how much of the delayed signal feeds back into the effect to be delayed again.

Stereo

Detune

Detunes the delayed signal relative to the incoming signal

Spray

Adds a scattering effect across the sound for each successiveechowith slightly randomized

echo times

Pitch Shift

(V)

Adjusts the amount that the delayed signal is pitch-shifted relative to the incoming signal

Stereo

Offset

Offsets the delayed signal in the stereo picture

55 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

6.5.7. Compressor

A Compressor is used to control the dynamic rangeofasound:itreducesthedifference

between the softest and loudest levels a sound can have.Itdoesthis based on reducing a

gain by a certain amount (the ratio) once the audio releases a certain level (the threshold).

Control Description

Makeup Enables control of the output level to compensate for the gain reduction of the input

Threshold (H) Sets the level where compression will begin

Ratio (V) Determines the amount of compression to be applied once the threshold is reached

Output Gain

Attack

Release Sets the release curve of the compressor



♪ There’s an old audio jokethat’sgreatfor understanding compressors. Threshold is howloudyour

music has to be before your parents tell you turn it down. Ratio is howmuch you turn it down. Attack

is howfast your parents react once it’s too loud. Release is howsoonyouturnitbackuponcethey’re

gone.

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 56

6.5.8. Multiband

Amultiband compressor works likeaseries of regular compressors, but each one works

on a separate rangeoffrequencies (

band

). First used by mastering engineers to squeeze

the maximum level out of recordings, these compressors are nowusedfor subtle sculpting,

sound design, special effects, and much more.

The multiband compressor is probably the most complex effect type in Acid V,firstofall

because there are things you can

only

adjust by dragging in the graphical visualizer. It

can work on uptothreefrequencybands,andyoucanusethetwoon/offbuttonsbelow

the visualizer to turn the lower and/or upper bands off.You can also drag upordown on

the numbers belowthevisualizertosetthefrequencycrossover between the lowandmid

bands (left number) and mid and high bands (right number).

On topofallthat,it’salsoan

expander

,which means it can raise the level of soft signals.

The green bars with horizontal lines inside on the toparefor compression; those beloware

for expansion.

With all this in mind, here is the parameter rundown:

57 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

Control Description

Threshold

(V)

Drag the border of a green bar to adjust the point at which the compression (or expansion) starts

working

Ratio (V)

Drag

inside

of a bar to adjust the amount of compression or expansion for that band. Increasing

ratios are depicted by denser horizontal lines, until the inside bar turns green at maximum

Band On/

Off Icons

The high and/or lowbandsmaybeswitched off,resultingina2-or1-bandcompressor/

expander

Low-Mid

Crossover

Drag on this field, located at lower left of the visualizer,tochangethecrossover point between

the low and mid bands

Mid-High

Crossover

Drag on this field, located at lower right of the visualizer,tochangethecrossover point between

the mid and high bands

Out Low Independent output level control for low band

Out Mid Independent output level control for mid band

Out High Independent output level control for high band

Input Sets the overall input gain

Attack

Sets the time it takes for the compressor/expander to “grab” the signal once a threshold is

reached

Release

Sets the time it takes for the compressor/expander to “let go” of the signal once the signal falls

beneath the threshold

Output

Located at right, the main Output knob governs the overall makeupgainwhile preserving the

difference in output between the bands

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 58

6.5.9. Multi Filter

Sometimes it's nice to haveanextrafilterhandyfor tweaking your tone before it gets to

the output. The Multi Filter FX gives you fivetochoosefrom!Types include: lowpass (

highpass (

), bandpass (

), feedback comb filter (

CombFB

), and feed-forward comb

filter (

CombFF

). The comb filters simulate the behavior of a flanger with twodifferent

tonal qualities – CombFB produces a series of evenly spaced peaks, and CombFF produces

evenly-spaced notches.

Control Description

Filter type Drag up or down on the letters to the lower left of the visualizer to choose the filter type

Slope

Click a selection at the lower right of the visualizer to choose the filter steepness; these do not

apply to the comb filters

Cutoff (H) Adjusts the cutoff frequency of the filter

Resonance

(V)

Sets the resonance of the filter, which is a peak of frequencies clustering near the cutoff

59 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

6.5.10. Param EQ

A Parametric Equalizer lets you sculpt tone very precisely, as opposed to the very broad

tonal strokes you get from a synth filter or tone controls. Itcanbeusedtogently or

surgically boost or cut certain frequencies to alter the overall sound or removeproblem

frequencies.

The EQ in Acid V has fivebands,andyoucanadjustthefrequency,gain(boostorcut),and

Q(howwide the band is around the selected frequency) for each one.Infact, that ability to

tweak the frequency and bandwidth is just what “parametric” means!

Control Description

Band

select

Click one of the points in the visualizer or one of the fivebuttonsbelowtoselectthebandthe

next controls listed will affect

Scale Adjusts the overall impact of the EQ curve on your sound

Frequency

(H)

Selects the center frequency of the current band

Gain (V) Adjusts the boost or cut to the level of the current band

Q Adjusts the width of the spectrum around the Frequency that is affected by the boost or cut

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 60

6.5.11. Distortion

Distortion offers the most algorithms of any Acid V effect. They’re derived algorithms from

our flagshipdistortioneffectcalledDist COLDFIRE.Therearemanydifferentkindsofsignal

distortion, each with its unique sonic signature – and they can transform sounds in ways

ranging from subtle warmth to an all-out audio thunderstorm! There’s also a multi-mode

filter that can be applied either before or after the distortion.

Click in the upper left of the visualizer to bring upthedistortiontypes menu, which expands

upon those from the distortion on the main panel.

61 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

Rather than offering lengthy technical descriptions of what each algorithm does, we

encourage you to explore the character of each for yourself.

Control Description

Type select As above

Drive (V) Sets the distortion amount

Auto Engages automatic gain compensation to avoid undesired loud peaks

Out Gain Use this to compensate for increased output gain caused by the other settings

Filter on/off Toggles integrated filter in or out

Filter menu Pop-up selects lowpass, highpass, bandpass, or notch modes

Cutoff (H) Adjusts cutoff/center frequency of integrated filter

Resonance (V) Adjusts resonance of integrated filter

Pre/Post Drag on field to place filter pre- or post-distortion

Dark Click to adds a fixed low-pass filter post-distortion

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 62

6.5.12. Bitcrusher

A bitcrusher does exactly what it sounds like: it crushes bits! Technically, it can reduce

both the bit depth and the sample rate of the signal. Bit depth (e.g. 16-bit vs. 8-bit) deals

with differences in volume; sample rate (e.g. 44,100 kHz, likeaCD)dealswith frequency

response.Whenmusicians talk about the “lo-fi” sound of vintagesamplers,gameconsoles,

or computers, they’re talking about bitcrushing.

Control Description

Bit Depth (V) Reduces the number of bits used to render gradations in amplitude.

Downsample (H) Divides the sample rate used to represent the signal.

63 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

6.5.13. Super Unison

Not unlikeasynth’sUnison mode,this effect adds duplicates of the input signal to itself,with

the option to detune them. The graphic indicates amount of detuning between the voices

horizontally and volume of detuned voices vertically. The original signal is the tallest line in

the center.

Control Description

HPF Controls the cutoff of a highpass filter that affects the processed signal only

LPF Controls the cutoff of a lowpass filter that affects the processed signal only

Voices (H) Sets the number of unison voices

Detune (V) Determines the detuning amount

Rate Adjusts the speed of modulation of all voices

Stereo Width Adjusts the spread of the voices across the stereo picture

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 64

6.5.14. Chorus

Chorus is an effect first developed in the mid-1970s by Roland for the Jazz Chorus amplifier

and CE-1 pedal. Inachorus,thedrysignalismixed with one or more slightly delayed copies

of itself (called

voices

), whose amount of delay is gently varied by an LFO to create a sense

of thickness.

Control Description

Waveform Toggles modulation LFO between sine and sawtooth waveforms

Mono/

Stereo

Drag to toggle mono or stereo operation

Voices

Selects the number of delay lines the chorus will use,with a different starting phase for each

voice

Rate Adjusts the speed of the chorus

Feedback

(V)

Adjusts the amount of chorused signal that is fed back into the effect

Delay (H) Sets the amount of delay applied to the input signal

Depth Controls the intensity of the chorus

65 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

6.5.15. Chorus JUN-6

One of the most famous chorus effects is the one built into the Juno-6 synthesizer and its

successors. This chorus is an accurate model of the original.

Control Description

Rate (H) The chorus rate, with unsynced and tempo-synced options

Depth (V) The depth of the chorus effect in milliseconds

Phase The phase of the chorused signal relative to the dry signal

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 66

6.5.16. Flanger

The Flanger is the most intense of the time/modulation effects. Itoriginallycamefrom

audio engineers gently pressing on the flange(rim)ofamoving tape reel to slowdown

the playback a tiny bit. Combined with the original signal, this produces the signature “jet

engine” effect.

Control Description

Waveform Toggles the modulation LFO between sine and triangle waveforms

Mono/Stereo Click to select mono or stereo operation

+/- Click to toggle flanger between additive and subtractive operation

Rate Adjusts the rate of the flanger, with unsynced and tempo-synced options

Delay (H) Adjusts the length of the delay, which changes the harmonic content

Feedback

(V)

Adds feedback for a harsher or “ringing” sound. Maximum is 99% to avoid runaway feedback

LP Freq Use this to define the amount of high-frequency content that will enter the flanger effect

HP Freq This determines the amount of low-frequency content that the flanger effect will receive

Depth Sets the modulation depth

67 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

6.5.17. BL-20 Flanger

The BL-20 Flanger is based on the sound of Arturia's Flanger BL-20 plug-in, which is in turn

based on the sound of the rare but beautiful-sounding Bel BF-20 hardware flanger from the

1970s.

Control Description

Wide Provides a wider stereo imagebyinverting the phase of the LFO modulating the right channel

Mono Input When engaged, optimizes the flanger for processing a monaural signal

Rate Adjusts the rate of the flanger, with unsynced and tempo-synced options

Delay (H) Adjusts the audible depth of the flange effect

Feedback

(V)

Adjusts the amount of effected signal feeding back into the flanger

Depth Adjusts the depth of the LFO that modulates the delayed signal

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 68

6.5.18. Phaser

Fire phasers, Mr. Worf! Phase shifting splits the incoming signal, changes the phase of one

side,andrecombinesitwith the unaffected signal. Modulation of this signal via an LFO

results in a notch-comb filter that sweeps through the frequency spectrum, causing that

familiar “whooshing” sound. Some phaser pedals havejusttwoorthreeknobs;theonein

Acid V offers a lot of fine-grained control.



♪ TwoiconicusesofthephaserareonanalogstringsbyGary Wright and Jean Michel Jarre,andon

electric piano by Steely Dan.

Control Description

Waveform Sets the waveform for the internal LFO

Rate Adjusts the rate of the phaser, with unsynced and tempo-synced options

Feedback (V) Controls the amount of phased signal feeding back into the effect for a more resonant sound

Amount Determines the depth of modulation by the LFO

Frequency

(H)

Sets the harmonic center for the modulation effect

N Poles Determines the steepness of the phaser’s filter frequency response

Stereo Gradually changes the phaser from mono to stereo output

69 Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS

6.5.19. Stereo Pan

Stereo Pan lets you automatically control and movethestereopositionoftheAcid V

monophonic voice, to provide motion and breadth.

Control Description

Amount (V) Instead of a dry-wet slider, this sets the overall width of the panning

Mono Bass When engaged, low frequencies will not be panned

Invert Button Inverts the LFO output, thus changing the “direction” of panning

Rate Adjusts the rate of the panning, with unsynced and tempo-synced options

Cutoff Sets the frequency below which panning stops when Mono Bass is engaged

Arturia - User Manual Acid V - ADVANCED VIEW PART 3 - EFFECTS 70

7. USER INTERFACE

This chapter covers everything that is not in the main panel and advanced views — all

the utilitarian functions that makeAcid V a joy to use in a modern music production

environment.

The toolbars aboveandbelowthemain panel [p.15] of Acid V contain a number of important

functions for Preset selection, housekeeping, and other utility settings.

Then there’s the side panel, where you makeimportantglobalandMIDIsettings,canuse

and create Macros [p.87] to control several settings with a single control movement, and

explore Acid V via interactive tutorials.

The Upper Toolbar includes:

• The Main Menu [p.72]

• The Preset Name Pane and Preset Browser [p.90] access button

• An overall output volume [p.19] knob

• The button to open the Advanced Views [p.77]

• A gear-shaped icon that opens the side panel [p.81]

The Lower Toolbar includes:

• The parameter description area [p.16] that shows infowhenyouhover over any

control

• A Bypass button

• Aduplicate Hold button [p.23] for when you’re in one of the Advanced Views and

the main hold button is obscured

• Undo, Redo, and History [p.79]

• The CPU Meter [p.80] and Panic [p.80] functions

71 Arturia - User Manual Acid V - USER INTERFACE

• Duplicate knobs for the Macros [p.80] in the side panel

• A corner grab handle [p.81] for resizing the Acid V window

The side panel includes:

• Settings [p.82]

• MIDI [p.82]

• Macros [p.87]

• Tutorials [p.75]

7.1. Upper Toolbar

Let’s start with the Upper Toolbar, covering its functions from left to right.

7.1.1. Main Menu

Clicking the “hamburger” icon (three horizontal lines) in the topleftcorneroftheupper

toolbar opens the Main Menu, a drop-down menu that lets you access a number of useful

functions related to Preset management and more.

7.1.1.1. New Preset

Creates a new Default Preset with initialized settings for all parameters.

Arturia - User Manual Acid V - USER INTERFACE 72

7.1.1.2. Save Preset

Overwrites the current Preset with any changes you havemade.This applies only to user

presets, so this option is greyed-out for factory presets.

7.1.1.3. Save Preset As...

This option saves the current settings of Acid V under a newPreset name.Clickingthis option

reveals a windowwhereyoucannameyourPreset and enter more detailed information

about it:



♪ The Bank, Author,andType fields are all useful when searching for Presets in the Preset Browser

[p.90].All of the words in boxes you see belowthataretags [p.92],which can further help refine

searches in the Preset Browser.

7.1.1.4. Import...

This command lets you import a Preset file or entire Bank stored on your computer. Itopens

a navigation window in your computer’s OS to find the proper files.

7.1.1.5. Export...

You can export Presets to your computer in twoways: as a single Preset, or as a Bank. In

either case,anOS-level navigation windowletsyouspecifywheretosavethefile(s).Both

individual Presets and Banks have the filename extension .303x.

• Export Preset: Exporting a single Preset is handy for sharing a preset with

someone else. The saved preset can be reloaded using the Import menu option.

73 Arturia - User Manual Acid V - USER INTERFACE

• Export Bank: This option exports an entire Bank of Presets, which is useful for

backing uporsharingmanyPresets at once.Saved Banks can be reloaded using

the Import menu option.

7.1.1.6. Resize Window

Acid V can be resized from 50% to 200% of its default size (100%) without any visual

artifacts. On a smaller screen, such as a laptop,youmaywant to reduce the interface size

so it doesn’t dominate the display. On a larger screen or a second monitor,youcanincrease

the size to get a better view of the controls and graphics.

You can also do this using keyboard shortcuts: every time you press CTRL- (Windows) or

CMD- (macOS), the windowwill shrink by one size increment, and every time you press

CTRL+ (Windows) or CMD+ (macOS), the window will grow by one size increment.

Inaddition,youcanclick-dragtheresize handle [p.81] at the right of the lower toolbar to

make the Acid V window any size.

7.1.1.7. Audio MIDI Settings

These appear only if Acid V is working in stand-alone mode.Used as a plug-in, these are

handled in the context of your DAWorhostsoftware.Refer to the chapter on Activation [p.9]

for details on the settings for both Windows and macOS. They work in much the same way

in stand-alone mode.

Arturia - User Manual Acid V - USER INTERFACE 74

7.1.1.8. Tutorials

Acid V comes with interactivetutorialsthatwalk you through different features of the plug-

in. Clicking this option opens a pane on the right side of the windowwherethetutorials

appear. Select one to access step-by-stepdescriptions that highlight the relevant controls

and walk you through the process.

7.1.1.9. Help

Get more help by visiting links to this user manual and Frequently Asked Questions pages

on Arturia’s website. You will need an internet connection to access these pages.

7.1.1.10. About

Here you can viewthesoftware version and developer credits. Click again anywhere on

the screen (outside the About windowbutinsidetheplug-in)tomakethis pop-upwindow

disappear.

75 Arturia - User Manual Acid V - USER INTERFACE

7.1.2. Preset Browser access and Name Pane

Clicking the “books on a shelf“ button opens the Preset Browser [p.90],which offers a myriad

of ways to browse, sort, and organize Presets in Acid V.

Clicking on the Preset name also opens upquickdrop-down menus for selecting Presets

outside of the Browser,asshown above.You can select to lookatlistsofPresets organized

by Type, as shown above, or look at All Presets at once.

Everything you need to knowaboutmanagingPresets is covered in detail in the next chapter

[p.90]. This includes working with Favorites, which are tagged by clicking the heart icon.

The Preset Name Pane

Arturia - User Manual Acid V - USER INTERFACE 76



Note: AnasteriskjustafterthenameinthePreset Name Pane (*) indicates that you’veeditedthat

Preset.

7.1.3. Output volume

This knob simply controls the main output level of Acid V.

7.1.4. Advanced Button

Near the upper right corner of the toptoolbaristheAdvanced Button.This changes the lower

area of the main panel (where the onscreen keyboard normally is seen) into the views for

the Sequencer, Modulators, and Effects.

7.1.5. Gear icon

This opens the side panel [p.81] where settings, Macros, and tutorials reside.

77 Arturia - User Manual Acid V - USER INTERFACE

7.2. Lower Toolbar

The Lower Toolbar of the Acid V interface can be thought of in terms of left and right halves.

On the left is the Control Description display, and on the right are buttons for several useful

utility functions.

7.2.1. Parameter descriptions

Operate or hover on any knob,button,icon,orothercontrol,andabrief description of what

it does appear in the lower left-hand corner. That’s pretty much the only thing on the left

side.

Lower toolbar in Acid V

This Control Description pops up when you mouse over the Speed knob in the Main Panel

Arturia - User Manual Acid V - USER INTERFACE 78

7.2.2. Hold duplicate

This only appears in advanced view,andconveniently duplicates the Hold [p.23] found on

the main panel. You may wish to hold and unhold a running sequence while working on it

or tweaking the Modulators and Effects. That’s what this is for.

7.2.3. Undo, Redo, and History

When editing a virtual instrument, it’s all too easy to overshoot the sweet spot for one or

more controls, and then wonder howtoget back to where you were.LikeallArturia plug-ins,

Acid V offers comprehensiveUndo,Redo,andHistory functions so that you always havea

safe way back.

7.2.3.1. Undo

Click the left arrowtorevert to the state before the most recent edit you made.You may

click repeatedly to undo several edits in reverse time order.

7.2.3.2. Redo

Click the right arrowtoredothemostrecentedityouundid.Ifyouhaveundoneseveral,

you may click repeatedly to redo them in forward time order.

79 Arturia - User Manual Acid V - USER INTERFACE

7.2.3.3. History

Click the center “hamburger” (three lines) button to open the History window,asshown

above.This provides a step-by-stepaccountofevery moveyouhavemadeinAcid V.

Clicking on an item in the list not only re-executes that move—itreturnstheplug-intothe

overall state it was in when you first made that move.

7.2.4. CPU Meter

At far right is the CPUMeter,which displays the overall load Acid V is placing on your

computer CPU.Since it deals only with this plug-in, it is not a substitute for the resource

metering tools in your DAW.

7.2.4.1. Panic

Mouse over the CPUMeter,anditwill display the word PANIC. Click to send an all-sounds-

off command that silences any sound processed through Acid V.This is a momentary

command, so sound will resume if your DAW is still playing.

Intheevent of serious runaway audio (say, from an unrelated delay effect that has gone

into a feedback loop), stopyourDAWplaybackanddisable the plug-in causing the problem.

7.2.5. Macro controls

These controls can affect multiple parameters by turning just one of them, and mirror the

actions of those found in the Macros [p.80] tab of the side panel. Factory Presets are pre-

programmed with useful Macros.

Mousing over the

CPU Meter

accesses the

PANIC function

Arturia - User Manual Acid V - USER INTERFACE 80

7.2.6. Resize handle

Grab and drag the diagonal lines to the right of the Macro controls to resize the Acid V

window.This lets you get achievesizesinbetween increments in the Resize Window [p.74]

menu if that better suits your screen layout.

7.2.7. Max View button

Sometimes, you may see the abovebuttonwith twodiagonalarrows appear over the resize

handle.This happens when, for some reason, the windowsizeisnotdisplayingallofthe

controls of Acid V. Click it to restore a full view of the open controls.

7.3. The Side Panel

The gear-shaped icon at the toprightoftheUpper Toolbar opens the Side Panel,which

in turn contains four tabs covering important subsystems that you won't havetoaccess

quickly when you're playing or editing sounds in Acid V:

• Settings:Global settings such as MIDIreceivechannels,splits,octaveshift, and Poly mode

• MIDI:MIDILearnfunctionsfor use with MIDICCmessages sent from a controller or DAW

• Macro:Assignments for four Macros that control multiple parameters with a single knob

twist

• Tutorials: In-app interactive tutorials, also accessible from the main menu

Let’s look at them from left to right.

81 Arturia - User Manual Acid V - USER INTERFACE

7.3.1. Settings Tab

This tab covers settings to control how a Preset responds to incoming MIDI.

7.3.1.1. MIDI Channel

Selects the MIDIchannel(s)onwhich Acid V will receiveMIDIinput. You can select a

particular channel, or choose “All” for Omni Mode.

7.3.1.2. Enable Accessibility

This gives your computer’s system-level accessibility tools for differently abled persons

access to Acid V.

7.3.1.3. Accent Velocity Threshold

Inthechapteronthemainpanel,wetalked about howanaccent [p.18] can be triggered by

checking a step’s boxinthesequencer

by MIDIvelocity when Acid V is in Ext mode.This

parameter sets that velocity. Drag on the number field to change it.

7.3.2. MIDI Tab

This is where Acid V may be placed in MIDILearnmode.Inthis mode,allMIDI-assignable

parameters on the Hardware Panel are highlighted and you can map physical controls on

your MIDIcontrollertothem.Atypical example might be to map a real expression pedal to

the Master Volume control, or a physical knob on the MIDIcontrollertotheFrequency knob

of the Filter section.

The Side Panel’s Settings tab

Arturia - User Manual Acid V - USER INTERFACE 82

7.3.2.1. MIDI Controller menu

The Side Panel's MIDI tab

The MIDI Controller menu

83 Arturia - User Manual Acid V - USER INTERFACE

At the toprightoftheMIDItabistheMIDIController drop-down menu, where you can

select templates for many Arturia MIDIcontrollers.Thesemapphysicalcontrolstomany

“most wanted” parameters in Acid V for a plug-and-play experience.AGeneric template is

also provided for third-party MIDI controllers.

7.3.2.2. MIDI Config menu

The MIDIConfig drop-down lets you managedifferentsetsofMIDImapsfor controlling

Acid V from MIDIhardware.You can Save/SaveAsthecurrentMIDIassignmentsetup,

Delete it, Import a configuration file, or Export the currently active one.

This is a quick way to set updifferenthardware MIDIkeyboards or controllers with Acid V,

without having to build all the assignments from scratch each time you swap hardware.

For example,ifyouhavemultiple hardware controllers (small livekeyboard, largestudio

keyboard, pad controller,etc.),youcancreateaprofilefor each of them, savethem,

and then quickly load them here.This saves you from having to redo the MIDImapping

assignments from scratch each time you swap hardware.

Two options in this menu are especially powerful:

• Default: Gives you a starting point with predetermined controller assignments.

• Empty: Removes the assignments of all controls.

The MIDI Config menu

Arturia - User Manual Acid V - USER INTERFACE 84

7.3.2.3. Assigning and unassigning controls

Click the Learn button in the MIDItabtoputAcid V into Learn mode.Controls available for

assignment are purple.Controls that are already assigned are red, but can be reassigned

if desired. The screenshot aboveshows the assigned and unassigned controls for Acid V's

Default configuration.

Click any purple control and its name will appear in the list. Now,moveacontroloroperate

aswitch on your MIDIcontroller.Thecorrespondingcontrolonscreenwill turn red and the

assigned MIDI CC number will appear in the list to the left of the parameter name.

Tounassignacontrolonscreen,control-clickorright-clickit.Alternativemethodsof

assignment are available in the MIDI Parameter Menu [p.86] described below.

7.3.2.4. MIDI channel, CC, and min and max values

The first twocolumnsinevery MIDIassignmentlisttheMIDIChannel(Ch)andMIDI

Continuous Control Changenumber(CC)for the assignment. Upto16Channelsareavailable

on any MIDIstream,andthe127possible MIDIControl Changenumbers,while freely

assignable,followcertainconventions on most instruments. For example,Modulation Wheel

is almost always MIDI CC 1, Master Volume is CC 7, and Sustain Pedal is CC 64.

The Min and Max value columns for each parameter in the list let you scale the amount

by which a parameter in Acid V changes in response to a physical control movement. For

example,youmaywish to limit the rangeofafiltersweep,even though you’re probably

going to turn the knob all the way during a live performance.

Drag upordown on a value to changeit.Settingthemaximum lower than the minimum

reverses the polarity of the physical controller,i.e.turningit

will turn the assigned

parameter

down

Switches that only havetwopositions(On/Off,etc.)would normally be assigned to buttons

on your controller, but it's possible to toggle those with a fader or another control if you like.



♪ Don’t forget that many items in the Advanced views (Sequencer,Modulators, and Effects), not just

settings on the main panel, may be MIDI Learned.

When MIDI Learn is active, available parameters are purple and already-assigned

parameters are red.

85 Arturia - User Manual Acid V - USER INTERFACE

7.3.2.5. MIDI Parameter Menu

Control-clicking or right-clicking on any item in the list - only the list, not the main interface -

of assigned parameters brings upaconvenient menu with the following options, which can

be different for each parameter.

• Absolute: The assigned parameter in Acid V tracks the literal value your physical

controller is sending out.

• Relative: The assigned parameter in Acid V will go upordown from its current

value in response to physical controller movements. This is often useful when

using endless 360-degree encoders that don’t have physical motion limits.

• Delete: Removes the assignment and turns the corresponding onscreen control

purple again.

• ChangeParameter: Brings upalargesub-menuofevery assignable parameter

in Acid V.This lets you changetheassignmentofthecurrentCC/physicalcontrol

manually, and is useful when you knowexactly the destination you’re looking

for.

7.3.2.6. Reserved MIDI CC numbers

Certain MIDIContinuous Controller (CC) numbers are reserved and cannot be reassigned to

other controls. These are:

• Pitch Bend

• Aftertouch (Channel Pressure)

• All Notes Off (CC #123)

All other MIDI CC numbers may be freely assigned to control any parameter in Acid V.

Right-clicking a parameter gives you

these options

Arturia - User Manual Acid V - USER INTERFACE 86

7.3.3. Macro Tab

This tab handles assignments for the four Macro knobs on the right side of the Lower

Toolbar. You can assign multiple parameters to each one,thenuseMIDILearn[p.82] to

assign the Macro itself to a physical control if you want.



Macros are saved at the Preset level.

7.3.3.1. Macro slots

Click one of the Macro knobs to select which Macros you want to work with. The default

names are

Brightness

Timbre

Time

,and

Movement

,butyoucanrenamethembydouble-

clicking the name field. The knob abovethenamecorrespondstotheknobofthesame

name in the Lower Toolbar [p.80].

The Side Panel's Macro Tab

87 Arturia - User Manual Acid V - USER INTERFACE

7.3.3.2. Making Macros

Click the Learn button in the Macro tab and you will see that the process works much like

MIDIassignments—available destinations turn purple and ones already assigned turn red.

Click on a purple control onscreen and its name will appear on the list.

ToremoveaparameterfromtheMacro,right-clickitsnameinthelistandselectDelete.

Parameters under Macro control have Min and Max values and may be scaled by dragging

upordown directly on the number,justasisdonewith MIDIassignments.Toreverse the

polarity of a parameter (i.e.haveitgodown when you turn the Macro knob upandvice-

versa), set the minimum value higher than the maximum.



♪ You can name and assign parameters as you liketoMacros.Keepinmind, though, that clarity is

usually better than cleverness when you’re working on a track.

7.3.3.3. Macro curves

Beyond simple scaling, you can customize a curvethatdetermines howeachparameter

under the Macro’s control proceeds from its minimum to maximum value and back when

you turn the Macro knob.Clickthe> icon next to the parameter name to open the curve

window.

Making Macro curves is a lot likeworking with shapes in the Modulators. Click on the curve

to add a breakpoint, represented by a small circle.You can then drag the point and the curve

segments between it and its nearest neighbors will changeaccordingly.Right- or control-

click on a point to removeit.Thefirstandlastbreakpointscannotberemoved. (Note that

unlike the Modulators, there are no grab handles between the breakpoints.)



♪ Asimplediagonallinewould produce a linear curve,butthepotentialfunhereistomakethings

non-linear.

An example Macro curve for the filter cutoff

Arturia - User Manual Acid V - USER INTERFACE 88

7.3.4. Tutorials

Inthis tab,which can also be opened by selecting Tutorials from the Acid V main menu

[p.72],youcanclickontitlesfor the individual chapters, which in turn will takeyouthrough

different areas of Acid V in steps. The parts of the panel to focus on are highlighted as you

go.



!Ifyou’reeditingaPreset, makesuretosaveitbefore opening the Tutorials, because doing so will

load a newPreset and overwrite your changes. The Tutorials also takeover the Side Panel space when

in use.

Warning pop-up when launching a tutorial

89 Arturia - User Manual Acid V - USER INTERFACE

8. THE PRESET BROWSER

The Preset Browser is howyousearch,load,andmanagesoundsinAcid V.Ithasdifferent

views but they all access the same banks of Presets.

Toaccessthesearchview,clickthebrowser button (the icon looks a bit likebooks on a

library shelf). To close the browser, click the Clear All that appears in its place.

The browser has four main areas:

Number Area Description

Search and Results

[p.91]

Search Presets with text strings, and by tags for Type and Style.

2. Sidebar [p.96] Manage Banks, Favorites, and Playlists.

3. Preset Info [p.98]

Summary of Bank and Tags, Designer name,anddescription infofor

current Preset.

4. Macro Knobs [p.101]

Largesizeduplicates of Macro knobs in Lower Toolbar and the Macros

tab.

Arturia - User Manual Acid V - THE PRESET BROWSER 90

8.1. Search and Results

Click on the Search field at the topandenteranysearchterm.Thebrowser will filter your

search in twoways: First, by matching letters in the Preset name.Then,ifyoursearchterm

is close to that of a Type or Style [p.92] it will include results fitting those tags as well.

The Results list beneath shows all Presets that fit your search. Click the X icon at right to

clear your search terms.

91 Arturia - User Manual Acid V - THE PRESET BROWSER

8.2. Using Tags as a Filter

You can narrow(andsometimesexpand)yoursearchusingdifferenttags.Therearetwo

kinds of tags:

Types

and

Styles

.You can filter by one,theother,orboth.Our extensiverange

of MIDIcontrollerkeyboards also allows you to browse sounds directly from the MIDI

keyboard.

8.2.1. Types

Types are categories of instruments and musical roles: bass, leads, strings, pads, organs,

and more.With a clear search bar,clicktheTypes button to bring upalistoftypes. Notice

that each type also has several sub-types:

Click any one of them, and the results will showonlyPresets that match that tag. You can

also select multiple Types using Cmd-click (macOS) or Ctrl-click (Windows). For example,if

you aren't sure whether the Preset you're looking for was tagged with “Electro” or “Techno”,

select both to broaden the search.

Results columns can be inverted by clicking the arrowbuttonstotherightoftheirtitles

(Name, Type, Designer).

Arturia - User Manual Acid V - THE PRESET BROWSER 92

8.2.2. Styles

Styles refine your search according to further musical attributes. Accessed by the Styles

button, this area has three further subdivisions:

•

Genres

:Identifiable musical genres such as decades, Trance,Techno,

Synthwave, Disco, etc.

•

Styles

: General “vibe” such as Atmospheric, Dirty, Clean, Complex, Mellow, etc.

•

Characteristics

:SonicattributessuchasAnalog, Evolving, Distorted, Dry, Rise,etc.

Click on any tag to select it. Click again (or right-click) on any selected tag to de-select it.

Notice that when you select a tag, several other tags usually disappear. This is because the

browser is narrowing your search by a process of elimination. De-select any tag to remove

that criterion and widen the search without having to start all over again.

8.2.3. Banks

Next to the Types and Styles buttons is the Banks button, which lets you do your search

(using all the methods above) within the factory bank or user banks.

93 Arturia - User Manual Acid V - THE PRESET BROWSER

8.3. Search Results window

Click the ShowResults button if you cannot already see your list of results. Click the sort

arrow to reverse the alphabetical order of any column.

8.3.1. Sorting the Preset Order

Click the NAME header in first column of the Results list to sort Presets in ascending or

descending alphabetical order.

Click the TYPE header in the second column to do the same thing by Type.

Click the Arturia logo to the left of TYPE to bring factory-featured Presets to the topofthe

list. These will appear just under any Presets you have liked [p.95].

Click the User toggle switch to restrict your search to Presets in user banks.

The third column has twoheaderoptions: DESIGNER and BANK.Clicktheiconwith three

lines to choose between the two.Thenclickeitherheadernameaswith the other two

columns to switch the alphabetical order.

Arturia - User Manual Acid V - THE PRESET BROWSER 94

8.3.2. Clearing Tags

Just abovetheTypes, Styles, and Banks buttons, you will see labels for all the activetagsin

asearch.ClicktheXnexttoanyonetoremoveit(andthus broaden the results). Click CLEAR

ALL to remove all tags.

8.3.3. Liking Presets

AsyouexploreandcreatePresets you can mark them as Liked by clicking the heart next to

their names. Later,clickonthehearticontoputallofyourfavorites at the topoftheResults

list.

8.3.3.1. Shuffle Presets

Clicking the “crossed arrows” button randomly reorders the Presets. This can be useful for

finding something you likewhenyoursearchresultsarealonglistthattakes time to scroll

through — it might bring a killer Preset to the top.

Use as many of the sorting and filtering features as you need and you will find the exact

sound you want every time.

95 Arturia - User Manual Acid V - THE PRESET BROWSER

8.4. Sidebar

The leftmost section of the Preset Browser determines what is displayed in the Search and

Results [p.91] section.

The topmost option is Explore:

The Explore section is the default, letting you search the current bank of Presets loaded into

Acid V as we did in the previous section.

8.4.1. My Sound Banks

Clicking MySoundBanksbrings upawindowwith all of the currently available Sound

Banks, starting with the Factory bank. User banks appear next to it, and can be deleted,

renamed, or exported by right-clicking them.

Arturia - User Manual Acid V - THE PRESET BROWSER 96

8.4.2. My Favorites

The middle part of the Sidebar has a menu called MyFavorites,which allows you to color-

code certain groups of Presets for easy access. ItalsoincludestheLiked group,soyoucan

quickly find Presets you've marked with the heart icon.

Todecidewhich colors you'd liketodisplay,hover over MyFavorites and click Edit.Thenuse

the toggle switches to select which colors you'd like to see or hide, and then click Done.

Please note that you can also rename these favorites into Bass, Leads, et cetera. Just right-

click on the favorite and enter a new name.

ToaddPresets to a particular set of Favorites, simply drag-and-dropthemover the

appropriate color,orright-clickthePreset name and select the color. Then click on the color

itself to display your grouping.

8.4.3. My Playlists

The bottom part of the sidebar displays any Playlists you havecreatedorimported.Playlists

are a very powerful management tool for set lists for gigs. Learn more about them in the

Playlists section [p.101] below.



!Ifyoudon’tseeanything here,itisbecauseyouhaven’t created any Playlists yet. Head to the

Playlists [p.101] section at the end of this chapter to find out how.

97 Arturia - User Manual Acid V - THE PRESET BROWSER

8.5. Preset Info Section

The right side of the browser windowshows specific information about each Preset. The

information for User Presets (but not Factory ones) may be changed here: Name,Type,

Favorite, etc.

Tomakethedesiredchanges, you can type in the text fields, use one of the pull-down

menus to change the Bank or Type, and click the + sign to add or delete Styles.

Types and Styles changes you makeherearereflectedinsearches.For example,ifyou

removethe“Distorted”StyletagandthensavethatPreset, it will not showupinfuture

searches for Distorted sounds.

Clicking on the three-dots icon at the toprightpops upamenuwith organizational options

for the Preset.

Arturia - User Manual Acid V - THE PRESET BROWSER 98

Options include

Save

SaveAs

Delete Preset

,and

Add to Playlist

,completewith an option

to create a newPlaylist. (You cannot overwrite or delete factory Presets, so the Saveand

Delete options may not appear.)

The dots with color icons allowyoutoaddthePreset to a particular groupofFavorites,

which is described above.

8.5.1. Editing Info for Multiple Presets

Ifyou'dliketomoveseveral Presets to a different bank while preparing for a performance,

or enter a single comment for several Presets at the same time,it'seasytodo.Simply

hold command (macOS) or ctrl (Windows) and click the names of the Presets you want to

changeintheResults list. Then enter the comments, changetheBankorType,etc.,andsave

the Preset.



♪ Ifyouwant to alter the information for a Factory Preset you must first use the

SaveAs

command

to re-saveitasaUser Preset. After this the Infosectionwill gain Edit and Delete buttons at the bottom

of the window.

99 Arturia - User Manual Acid V - THE PRESET BROWSER

8.6. Preset Selection: Other Methods

Click on the Preset name in the center of the Upper Toolbar to bring upadrop-down menu.

The first option in this menu is

All Presets

,anditbringsupasubmenuofliterallyevery

Preset in the current bank.

Belowthis are options that correspond to the Type tags. Each of these brings upasubmenu

of all Presets of its Type.

IfyouhaveanactivesearchbyType and/or Style,theup/down arrows to the right of the

Preset name will step through only the results that conform to your search.

However,

All Presets

in the drop-down menu always ignores those criteria. Likewise for the

Type choices below the line — they always include all Presets within that Type.

Arturia - User Manual Acid V - THE PRESET BROWSER 100

8.7. Macro Knobs

These are simply larger duplicates of the Macro knobs in the Lower Toolbar and on the

Macros tab. Move one and its partner moves with it.

Assigning parameters to Macros is covered in the Macro Tab [p.87] section of Chapter 7.

8.8. Playlists

Playlists are a way to collect Presets into different groups for different purposes, such

as a set list for a particular performance or a batch of Presets related to a particular

studio project. Within a Playlist, Presets can be reordered and grouped into Songs, a handy

addition to a set list.

The subheading

MyPlaylists

appears under MyFavorites in the Sidebar. However,whenyou

first start using Acid V,you’llhavenoPlaylists yet, and

MyPlaylists

won't be there yet. To

make it appear, you’ll have to create your first Playlist.

8.8.1. Create your first Playlist

Toget started, drag any Preset to the Sidebar. The

MyPlaylists

heading will appear,along

with a +New icon. DropthePreset onto the +New icon, and you will then be given a pop-up

to name your first Playlist. Once you'vecreatedonePlaylist, the

MyPlaylists

heading will

become a permanent part of the Sidebar.

101 Arturia - User Manual Acid V - THE PRESET BROWSER

8.8.2. Add a Playlist

ToaddaPlaylist, hover your mouse over the

MyPlaylists

heading and click the +New icon

when it appears.

Give the Playlist a name and it will appear in the Playlists menu in the Sidebar.

Once you'vecreatedsomePlaylists, right-clicking on a Playlist name will popupasetof

options – you can

Rename

Delete

,or

Export

the Playlist to your computer,asafilewith the

“.aplst” extension.

8.8.3. Add a Preset

You can use all of the options in the Explore windowtolocatePresets for your Playlist. When

you find a desired Preset, click-drag it onto the Playlist name.

Dragging a preset to a Playlist

Arturia - User Manual Acid V - THE PRESET BROWSER 102

To view the contents of a Playlist, click on the Playlist name.

8.8.4. Re-order the Presets

Presets may be reorganized within a Playlist. For example,tomoveaPreset from slot 3 to

slot 4, drag and drop the Preset to the desired location.

This will moveotherPresets upinthelisttoaccommodatethenewlocationofthePreset

you just moved. A bright green line will briefly appear at the “insert point.”

103 Arturia - User Manual Acid V - THE PRESET BROWSER

8.8.5. Remove a Preset

TodeleteaPreset from a playlist, select the Playlist, then right-click on the Presets name in

the Results Pane to bring upapop-upmenu.This will only delete the Preset

from the Playlist

not delete the Preset from the Acid V browser!

This menu also includes Rename, Copy, Paste,andDuplicate options. More management

options are described below.

8.8.6. New Song and Playlist Management

The NewSongbutton creates a newSongatthebottomofthePlaylist. You can name it,

then click and drag it to position it in the Playlist and add Presets to it in the desired order.

You can havemultiple songs in each Playlist, and if drag a song by its title,itbringsallits

Playlists with it — in order!

ToaccessotherPlaylist management options, click on the three-dots icon next to the New

Song button. This brings up a pull-down menu:

• Rename Playlist: Renames the current Playlist without making a copy.

• SavePlaylist As:Createsaduplicate of the playlist with “Copy” appended to the

name. You can change the name before saving.

• Export Playlist:ExportsyourPlaylist to a location on your computer,with the

filename extension “aplst.”

• Delete Playlist:DeletesthecurrentPlaylist but does

not

delete any of the Presets

in it.

Arturia - User Manual Acid V - THE PRESET BROWSER 104

9. SOFTWARE LICENSE AGREEMENT

InconsiderationofpaymentoftheLicenseefee,which is a portion of the price you paid,

Arturia, as Licensor,grantstoyou(hereinaftertermed“Licensee”)anonexclusiverightto

use this copy of the Acid V (hereinafter termed “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. 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,appearbelow.Byinstallingthesoftware on your computer

you agree to these terms and conditions. Please read the following text carefully in its

entirety. Ifyoudonotapprovethesetermsandconditions,youmust not install this software.

Inthis event givetheproductbacktowhereyouhavepurchasedit(includingallwritten

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-exclusivelicensefor the use of the software

according to the terms and conditions of this Agreement. You may not lease,loanorsub-

license the software.Theuseofthesoftware within a network is illegal where there is the

possibility of a contemporaneous multiple use of the program.

You are entitled to prepare a backupcopy of the software which will not be used for

purposes other than storage purposes.

You shall havenofurtherrightorinteresttousethesoftware 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

acompulsoryregistrationoftheOEMsoftware for license control to protect the software

against unlawful copying. Ifyoudonotaccept the terms and conditions of this Agreement,

the software will not work.

Insuchacasetheproductincludingthesoftware 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 receivesupport,

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

newversion. 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. Insuchaprocessyouareasked to agree to the storageanduseofyour

personal data (name,address,contact,email-address,andlicensedata)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. No Unbundling The software usually contains a variety of different files which in its

configuration ensure the complete functionality of the software.Thesoftware may be used

as one product only. Itisnotrequiredthatyouuseorinstallallcomponentsofthesoftware.

You must not arrangecomponentsofthesoftware in a newway and developamodified

version of the software or a newproductasaresult.Theconfigurationofthesoftware may

not be modified for the purpose of distribution, assignment or resale.

105 Arturia - User Manual Acid V - Software License Agreement

6. 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, backupcopies and previous versions,

which granted a right to an update or upgrade on this software,(b)youdonotretain

upgrades, updates, backupcopies and 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.

Areturnoftheproductduetoafailure to accept the terms and conditions of this Agreement,

e.g. the product activation, shall not be possible following the assignment of rights.

7. Upgrades and Updates You must haveavalid 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.

8. Limited Warranty Arturia warrants that the disks on which the software is furnished is

free from defects in materials and workmanshipundernormalusefor 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 allowlimitations 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 riskastothequalityandperformance of the

programs is with you. Should the program provedefective,youassumetheentirecostofall

necessary servicing, repair or correction.

9. Remedies Arturia's entire liability and your exclusiveremedyshallbeatArturia's option

either (a) return of the purchase price or (b) replacement of the diskthatdoesnotmeetthe

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.

10. No other Warranties The abovewarranties are in lieu of all other warranties, expressed

or implied, including but not limited to,theimplied warranties of merchantability and fitness

for a particular purpose.Nooralorwritteninformation 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.

11. 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,orinabilitytousethis 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 allowlimitations on the length of an implied warranty

or the exclusion or limitation of incidental or consequential damages, so the abovelimitation

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 - User Manual Acid V - Software License Agreement 106