AnalogLab-V Manual 5 3 en

USER MANUAL
_ANALOG LAB V
Special Thanks
DIRECTION
Frédéric BRUN Kevin MOLCARD
DEVELOPMENT
Pierre-Lin LANEYRIE Alexandre ADAM Kevin ARCAS Germain MARZIN
(project manager) Loris DE MARCO
Geoffrey GORMOND Thomas BARBIER
Marie PAULI Cyril LEPINETTE
Mathieu NOCENTI Fanny ROCHE Florian MARIN
Markus BOLLINGER
Raynald DANTIGNY
Marc ANTIGNY Matthieu BOSSHARDT
Corentin COMTE Stefano D'ANGELO
Rasmus KURSTEIN Maxime AUDFRAY
Timothée BÉHÉTY
Alessandro DE CECCO
Baptiste AUBRY Arnaud BARBIER
Samuel LIMIER
Simon CONAN
DESIGN
Pierre PFISTER Morgan PERRIER Edouard MADEUF
Florian RAMEAU Baptiste LE GOFF
SOUND DESIGN
Victor MORELLO Lily JORDY Jean-Michel BLANCHET Jean-Baptiste ARTHUS
BETA TESTING
Fernando Manuel Guillaume HERNANDEZ- George WARE Terry MARSDEN
RODRIGUES PAGNIER Mat HERBERT TJ TRIFELETTI
Ben EGGEHORN Gary MORGAN Neil HESTER Tony FLYING SQUIRREL
Bernd WALDSTÄDT Rolf ELMER Paolo NEGRI Luis RODRIGUEZ
Chuck CAPSIS Jay JANSEN Paul BEAUDOIN Chuck ZWICKY
David BIRDWELL Jeffrey CECIL Peter TOMLINSON
Ken Flux PIERCE Marco CORREIA Stephen WEY
MANUAL
Martina KRAJŇÁKOVÁ (co- Stephen FORTNER (co- Camille DALEMANS Jimmy MICHON
author) author) Vincent LE HEN
© ARTURIA SA – 2021 – All rights reserved.
26 avenue Jean Kuntzmann
38330 Montbonnot-Saint-Martin
FRANCE
www.arturia.com
Information contained in this manual is subject to change without notice and does not
represent a commitment on Arturia's part. The software described in this manual is provided
under the terms of a license agreement or non-disclosure agreement. The software license
agreement specifies the terms and conditions for its lawful use. No part of this manual
may be reproduced or transmitted in any form or by any purpose other than purchaser’s
personal use without the 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: 5.3
Revision date: 12 July 2021

Thank you for purchasing Arturia Analog Lab V!
This manual covers how to use Analog Lab V, including a detailed look at its features and
other elements of music production and performance.
Make sure to register your software as soon as possible! When you purchased Analog Lab
V, you were sent a serial number and an unlock code via email. These are required at the
online registration process.
To register your Analog Lab V licence, log into your MyArturia account, click 'Register new
product', fill in your license serial number and the unlock code, and click 'Register'. Be sure
to do this to stay updated about free software updates and new soundbank releases.
Special Messages
Specifications Subject to Change:
The information contained in this manual is correct at the time of printing. However, Arturia
reserves the right to change or modify any of the specifications or features without notice
or obligation.
IMPORTANT:
The software, when used in combination with an amplifier, headphones or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high volume or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in your ears, please consult an audiologist.
NOTICE:
Service charges incurred due to lack of knowledge relating to how a function or a feature
works (when the software is operating as designed) are not covered by the manufacturer’s
warranty, and are therefore the owner's responsibility. Please study this manual carefully
and consult your dealer before requesting additional support.
Introduction
Congratulations on your purchase of Analog Lab V!
Thank you for purchasing Analog Lab V, a music production and performance software
crafted to give you the most intuitive and inspiring musical journey.
Excellence is placed at the heart of every Arturia product, and Analog Lab V is no exception.
Explore the preset sounds, tweak a few controls, get lost in the features - dive as deeply as
you like. This program is easy to understand and intuitive to use. We're confident that Analog
Lab V will be a valuable addition to your setup and that you'll enjoy creating truly original
tunes with it.
Be sure to visit the www.arturia.com website for information on all our other inspiring
hardware and software instruments. They have become indispensable tools for many
visionary artists around the globe.
Musically yours,
The Arturia team

Table Of Contents
1. WELCOME TO ANALOG LAB V ............................................................................................................................. 3
1.1. History of the V Collection ................................................................................................................................................ 3
1.2. Here and Now .......................................................................................................................................................................... 5
1.3. Main Views................................................................................................................................................................................. 6
1.3.1. Library View...................................................................................................................................................................................................................... 6
1.3.2. Studio View....................................................................................................................................................................................................................... 7
1.3.3. Stage View........................................................................................................................................................................................................................ 8
2. Activation and Setup ............................................................................................................................................... 10
2.1. Register and Activate ....................................................................................................................................................... 10
2.1.1. Arturia Software Center (ASC)........................................................................................................................................................................... 10
2.2. Initial setup for Stand-Alone Use............................................................................................................................ 10
2.2.1. Windows Users: Audio and MIDI settings................................................................................................................................................... 11
2.2.2. macOS Users: Audio and MIDI settings .................................................................................................................................................... 13
2.2.3. Using Analog Lab V in Plugin Mode ............................................................................................................................................................. 13
3. Interface Overview ................................................................................................................................................... 14
3.1. Upper Toolbar......................................................................................................................................................................... 15
3.1.1. Main Menu........................................................................................................................................................................................................................ 15
3.1.2. Preset Bar and Navigation Arrows ................................................................................................................................................................. 18
3.1.3. Gear Icon......................................................................................................................................................................................................................... 18
3.2. Preset Browser..................................................................................................................................................................... 19
3.2.1. Home ................................................................................................................................................................................................................................ 20
3.2.2. Explore............................................................................................................................................................................................................................. 23
3.2.3. Store.................................................................................................................................................................................................................................. 26
3.2.4. My Library...................................................................................................................................................................................................................... 27
3.2.5. Playlists........................................................................................................................................................................................................................... 28
3.2.6. Preset Info Section.................................................................................................................................................................................................. 29
3.3. Settings Panel ...................................................................................................................................................................... 33
3.3.1. Settings Tab................................................................................................................................................................................................................... 33
3.3.2. MIDI Tab ........................................................................................................................................................................................................................ 36
3.3.3. Macro Tab ..................................................................................................................................................................................................................... 42
3.3.4. Tutorials Tab ................................................................................................................................................................................................................ 45
3.4. Performance Controls.................................................................................................................................................... 46
3.4.1. Performance Controls and MIDI Controllers.......................................................................................................................................... 46
3.5. Virtual Keyboard ................................................................................................................................................................ 47
3.5.1. Splits and Layers........................................................................................................................................................................................................ 47
3.6. Lower Toolbar ...................................................................................................................................................................... 48
3.6.1. Parameter Name....................................................................................................................................................................................................... 48
3.6.2. Keyb Settings .............................................................................................................................................................................................................. 48
3.6.3. Controls........................................................................................................................................................................................................................... 48
3.6.4. Keys................................................................................................................................................................................................................................... 48
3.6.5. Undo/Redo.................................................................................................................................................................................................................... 48
3.6.6. CPU Meter and Panic Button ............................................................................................................................................................................ 49
3.6.7. Unison and Other Settings ................................................................................................................................................................................. 49
4. Studio View................................................................................................................................................................... 50
4.1. Part Channel Strips ........................................................................................................................................................... 52
4.1.1. Opening an Instrument.......................................................................................................................................................................................... 52
4.1.2. Replacing an Instrument ..................................................................................................................................................................................... 53
4.1.3. Removing an Instrument ..................................................................................................................................................................................... 54
4.1.4. Starting from a Blank Strip ................................................................................................................................................................................. 54
4.1.5. Effect Assignments .................................................................................................................................................................................................. 55
4.1.6. Pan, Mute, and Fader.............................................................................................................................................................................................. 55
4.1.7. Parts in Multis............................................................................................................................................................................................................... 56
4.2. Insert Effects ........................................................................................................................................................................ 58
4.2.1. Selecting an Insert Effect..................................................................................................................................................................................... 58
4.2.2. Common Insert Controls .................................................................................................................................................................................... 59
4.2.3. Individual Effects Controls................................................................................................................................................................................. 59
4.3. Delay and Reverb............................................................................................................................................................. 60
4.3.1. Common Delay/Reverb Controls................................................................................................................................................................... 60
4.3.2. Delay ................................................................................................................................................................................................................................. 61
4.3.3. Reverb.............................................................................................................................................................................................................................. 62
4.4. Master Section ..................................................................................................................................................................... 62
4.5. Keyboard Settings ............................................................................................................................................................ 63
4.5.1. Zoning Settings ........................................................................................................................................................................................................... 63
4.5.2. Controller Settings ................................................................................................................................................................................................... 63
4.6. Exiting Studio View ........................................................................................................................................................... 64
5. Stage View and Playlists...................................................................................................................................... 65
5.1. Working With Playlists.................................................................................................................................................... 65
5.1.1. Playlist Organization................................................................................................................................................................................................ 66
5.1.2. Adding a Preset to a Playlist............................................................................................................................................................................... 67
5.1.3. Moving Presets and Songs in a Playlist ..................................................................................................................................................... 68
5.1.4. Playlist Presets Are Independent ................................................................................................................................................................... 69
5.1.5. Save Your Playlist ..................................................................................................................................................................................................... 69
5.1.6. Playlist Management .............................................................................................................................................................................................. 69
5.2. Go On Stage.......................................................................................................................................................................... 70
5.2.1. Song and Preset Lists............................................................................................................................................................................................. 70
5.2.2. Preset Overiew ........................................................................................................................................................................................................... 72
5.3. Exiting Stage View ............................................................................................................................................................. 73
6. Supplemental Info.................................................................................................................................................... 74
6.1. Accessibility............................................................................................................................................................................. 74
6.1.1. Configuring an Arturia MIDI Controller ........................................................................................................................................................ 74
6.1.2. Configuring a Non-Arturia MIDI Controller ............................................................................................................................................... 75
6.2. Insert Effects Parameters............................................................................................................................................. 76
6.2.1. Multi-Filter ........................................................................................................................................................................................................................ 76
6.2.2. ParamEq ......................................................................................................................................................................................................................... 77
6.2.3. Compressor .................................................................................................................................................................................................................. 78
6.2.4. Distortion......................................................................................................................................................................................................................... 79
6.2.5. Chorus ............................................................................................................................................................................................................................ 80
6.2.6. Flanger ............................................................................................................................................................................................................................. 81
6.2.7. Phaser .............................................................................................................................................................................................................................. 82
6.2.8. Stereo Pan..................................................................................................................................................................................................................... 83
6.3. Interaction with Hardware.......................................................................................................................................... 84
6.3.1. KeyLab Hardware..................................................................................................................................................................................................... 84
6.3.2. MiniLab Hardware ................................................................................................................................................................................................... 84
6.3.3. MiniLab MkII ............................................................................................................................................................................................................... 84
6.3.4. KeyLab Essential ...................................................................................................................................................................................................... 84
6.3.5. KeyLab MkII ................................................................................................................................................................................................................ 85
7. Software License Agreement ............................................................................................................................ 86
1. WELCOME TO ANALOG LAB V
This incredible virtual instrument system gathers over 2,000 Presets from Arturia’s
renowned V Collection of classic synth and keybaord emulations and puts them right at
your fingertips.
1.1. History of the V Collection
Early in 2001, Arturia began working on an advanced method of modeling coveted synths
and keyboards: TAE®, short for True Analog Emulation. It was a way of analyzing and
recreating analog circuits of classic hardware instruments, not to mention the way these
circuits interact with each other and the exact effects of that interaction on the sound. The
goal was to provide more accurate emulations and inspiring playing experiences than even
the best sample-based instruments ever could.
Less than a year later, the company’s most dedicated inventors were ready to show the
world their work. At the 2002 NAMM Show in California, Arturia presented an early version
of what would later become Modular V, our software recreation of the groundbreaking ’60s
modular synthesizer. The launch was an instant success, winning awards from several
leading magazines in the industry.
By gathering insights from sound design experts and avid synthesizer users, Arturia
developed high-quality instruments that satisfied an ever-evolving demand for sonic
innovation. Shortly after the pivotal 2002 NAMM show, the company started receiving
a numerous requests from musicians and producers, many of them wanting to replace
their original hardware synthesizers with virtual instruments. Artists around the globe were
beginning to see the advantages of software. Arturia answered this call by releasing virtual
versions of the most loved synthesizers of all time.
CS-80V emulated the legendary Yamaha CS-80, considered by many as the ultimate
polyphonic synthesizer. It was launched at the AES 2003 in New York.
At the Winter NAMM Show 2005, Arturia launched ARP 2600V. Memorable sounds ranging
from drum ’n’ bass stabs to the speech of everyone’s favorite pint-sized robot were created
on the 2600.
A year later, again at WinterNAMM, Arturia announced its new product: Prophet V. This
powerful hybrid was two instruments in one — it combined the warmth of the legendary
Prophet-5 programmable analog synth with the unique Vector Synthesis textures of the
digital Prophet-VS.
At Summer NAMM 2007, Arturia launched the Jup-8 V, an emulation of what has since
become one of the most sought-after and expensive analog polysynths on the used market.
Like the original that inspired it, Jup-8 V was incredibly versatile.
After Jup-8 V came Oberheim® SEM V. With SEM V, Arturia produced the unique sound of
the constantly variable filter and oscillators present in the original Synthesizer Expander
Module. The addition of the Eight Voice Programmer module allowed the users to recreate
one of most rare and expensive polysynths of the ’70s, the Oberheim® Eight Voice. Following
Arturia’s ethos of sonic exploration, we went beyond the original product and added new
sound and modulation capabilities, all while staying faithful to its signature sound.
With the release of Wurli V in 2012, Arturia made its first foray into emulating classic electric
pianos. Based on a physical modeling engine, the virtual instrument recreated the signature
EP sound used so many classic recordings. Once again, Arturia took it to the next level and
gave musicians access to the physical modeling parameters, allowing them to sculpt the
sound freely and creatively.
3 Arturia - User Manual Analog Lab V - WELCOME TO ANALOG LAB V

In 2014, Arturia recreated the Vox Continental transistor organ. The Vox sound was a key
part of the early British Invasion sound as well as the ska and the 2-Tone label sounds of
the ’70s and ’80s. The Arturia Vox instrument went well beyond the original by adding more
drawbars, percussion sections, expanding modulation, and recreating the extremely rare
Jennings J70 voice engine. It was designed to 'light your fire' and push musicians to explore
the endless space of creativity beyond their musical habits.
Having recreated synths, a classic electric piano and a legendary organ, the team of sonic
specialists at Arturia decided to dig deep into the vintage string machines by recreating the
Arp/Eminent Solina. Solina's typical expression of the lush string sounds was a staple for
many bands in the 70’s and 80’s. To stay true to the vintage character of this legendary
machine, Arturia mirrored the original circuits of Solina and included several new features
to expand its expressive palette.
After Solina V’s release, which emulated the famous Eminent/ARP string synthesizer, Arturia
recreated one of the most ambitious and powerful synths ever made: the Oberheim® Matrix
12. With its numerous modulation sources and nearly unlimited routing possibilities, this
powerhouse synth is still considered one of the best synths in music history. Arturia’s Matrix
12 V gifted the world with an affordable option to explore legendary and phenomenal
soundscapes.
In 2015, Arturia added five new acclaimed instruments. First, Synclavier V, an emulation
of the cost-no-object digital synth workstation that ruled the ’80s and much of the ’90s.
The original could cost as much as $400,000 if maxed out with options. It combined
of additive synthesis and FM with the unparalleled possibilities offered by the 'time slice
engine'. Synclavier V was recreated using code from the hardware Synclavier in partnership
with original developer Cameron Jones. B-3 V reproduced the most emblematic tonewheel
organ and its groundbreaking rotary speaker. Farfisa V is an emulation of the Farfisa
Compact Deluxe and Compact Duo transistor organs. Stage-73 V brought the sublime sound
of two different versions of the iconic tine-based electric piano. Then, Piano V introduced
physical modeling of acoustic grand and upright pianos, ranging from studio and stage
staples to conceptual pianos made of metal and glass.
V Collection 6 (2017) saw four more important instruments: CMI V, Clavinet V, DX7 V,
and Buchla Easel V; three more in V Collection 7 (2019) were Synthi V, Mellotron V, and
CZ V. Arturia also launched Pigments in 2019, our first software synthesizer designed in-
house from scratch. The release of all these innovative instruments demonstrated Arturia’s
continued commitment to building world-class tools for creatives.
In 2020, V Collection 8 marked the most expansive library of Arturia's virtual instruments
yet, including JUN-6 V, Emulator II V, Vocoder V, and OB-Xa V, as well as major updates to
instruments from the previous versions.
Arturia - User Manual Analog Lab V - WELCOME TO ANALOG LAB V 4

1.2. Here and Now
Why the walk down memory lane about V Collection? Because Analog Lab V offers an
extensive and inspiring selection of sounds taken from V Collection, opening a compelling
gateway to a wide spectrum of soundscapes all within a single piece of software. Analog
Lab V is a one-stop-shop for playing the best of V Collection. What’s more, it lets you split
and layer instruments, add effects, and assign MIDI controls for gig-ready setups with real-
time performance control.
The sounds of Analog Lab V were taken from these quintessential instruments:
• ARP 2600 V
• B-3 V
• Buchla Easel V
• Clavinet V
• CMI V
• CS-80 V
• DX7 V
• Emulator V
• Farfisa V
• Jun-6 V
• Jup-8 V
• Matrix-12 V
• Mellotron V
• Mini V
• Modular V
• OB-Xa V
• Piano V
• Pigments
• Prophet V
• SEM V
• Solina V
• Stage-73 V
• Synclavier V
• Synthi V
• Vocoder V
• Vox Continental V
• Wurli V
With all these classic instruments in one place, Analog Lab V gives you access to sounds
from all the powerful hardware instruments that are financially out of reach for most people.
Plus, with its simple and powerful browser and intelligent filtering, it makes finding the right
sound quick and easy.

1.3. Main Views
In Analog Lab V, you will always be looking at one of three different views: Library, Studio,
and Stage, depending on what sort of task you’re performing.
1.3.1. Library View
This is the default view when you open the software. It includes the sidebar that accesses
the Home page, Preset banks, Arturia Sound Store, and Playlists. This lets you explore
Presets by types (such as Bass, Piano, Strings, and more), instruments (e.g. Mini, B-3, ARP,
etc.), Styles, banks, and sound designers. You can also access your saved Presets, sound
banks, and favorites in My Library and prepare Playlists with Songs for playling live in Stage
View.

1.3.2. Studio View
Here, you mix, pan, and adjust Presets and effects. You can work in Single Mode - playing
one instrument - or Multi Mode, where you can combine two. In Multi Mode you can create
your own splits and layers using the powerhouse V Collection synths and keyboards via
simple drag-and-drop. You can also add effects (Effects A and Effects B) of your choice, with
Delay and Reverb acting as two default effects.
 ♪ If you own a full license to an Arturia virtual instrument and it is installed, you can load it within
Analog Lab V and enjoy full access to its controls and functionality.

1.3.3. Stage View
This view organizes the setups you prepare in Library and Studio View for the smoothest
live playing experience possible. Recall your sounds and Multis quickly via program change
messages, and tie Presets to the songs in your set list. Playlists you design in this mode will
appear in the Playlists section in Library view.
There are different ways to get into these views. For example, choosing to edit a Preset in
Library View will bring up Studio View. Adding a new control to a Macro will also engage
Studio view. We’ll cover this in more detail in Stage View and Playlists [p.65].

Analog Lab V is more than just a sound library of classic synths and keyboards - it’s
a powerful sound design tool and live performance instrument you can integrate into
your workflow. You’ll enjoy more than 2,000 presets (more if you own other Arturia
software instruments) with added macros and effects. With its capacity to save your
favorite instruments and sounds in Playlists, and intelligent browsing of presets by genre,
moods, and more, you can easily create a dream synth rig.
Analog Lab V is new software that installs separately from previous versions (including
Analog Lab 4), meaning it works not as a simple update but as a new addition to your
musical tools.
Analog Lab V also supports many of Arturia’s MIDI controllers natively and, once connected,
will adapt to reflect their physical controls. You can of course use generic MIDI controllers
as well.

2. ACTIVATION AND SETUP
2.1. Register and Activate
Analog Lab V works on computers and laptops equipped with Windows 8.1 or later, and
macOS 10.13 or later. You can work with it in standalone mode or use it via Audio Units, AAX,
VST2, or VST3 instrument.
Once you install Analog Lab V, the next step is to register the software. This is a simple
process that involves a different software program, Arturia Software Center.
2.1.1. Arturia Software Center (ASC)
If you haven't installed ASC yet, please go to this web page: Arturia Updates & Manuals.
Look for the Arturia Software Center near the top of the page, and then download the
installer version for the system you’re using (Windows or macOS).
After you complete the installation instructions, proceed to do the following:
• Launch the Arturia Software Center (ASC).

• Log into your Arturia account.
• Scroll down to the 'My Products' section of ASC.
• Click on the 'Activate' button next to the software you want to start using (in this
case, Analog Lab V).
It's as simple as that!
2.2. Initial setup for Stand-Alone Use
If you would like to use Analog Lab V in standalone mode, you will need to set up the
software and ensure that MIDI and audio signals are flowing through it properly. You only
need to do this once unless you'd make some major changes to your computer. The setup
process is largely the same on both Windows and macOS computers but for the sake of
clarity, we’ll cover each system separately.
 ! This section only applies to readers that plan to use Analog Lab V in stand-alone mode. If you are
only going to use the software as a plug-in within a host music software, you can jump to the end of
this chapter - Using-Analog-Lab-V-in-plugin-mode [p.13] - as your host music software will handle these
things automatically.
Arturia - User Manual Analog Lab V - Activation and Setup 10

2.2.1. Windows Users: Audio and MIDI settings
At the top left of the Analog Lab V application, you’ll find a hamburger icon that opens up
a pulldown menu. This contains various setup options. Go to 'Audio MIDI Settings' to setup
how the audio signal behaves (the sound and MIDI flowing in and out).
This option works in the same way on both Windows and macOS X, although the names of
the devices available to you will depend on the hardware that you are using.
11 Arturia - User Manual Analog Lab V - Activation and Setup

Starting from the top, you’ll have the following options:
• Device selects which audio driver and device will handle the playback of Analog
Lab V. This can be your computer’s internal driver, like Windows Audio or ASIO,
or CoreAudio in Mac devices. Depending on your selection, the name of your
hardware interface may appear in the field below.
• Using the second bar under Device lets you select the output channels, which
means choosing which of the available outputs will be used to route your audio
out. If your selected device has only two outputs, then only two options will
appear here. If your device has more than two outputs, then you can select a
specific pair of outputs.
• The Buffer Size gives you the option to choose the size of the audio buffer your
computer uses to calculate sound.
 ♪ A larger buffer means a lower CPU load as the computer has fewer interruptions and
longer amount of time to process commands. However, this can result in longer latency
(reaction time) between pressing a key and hearing the sound it’s supposed to produce,
which creates a considerable problem when wanting to play an instrument smoothly. On
the contrary, a smaller buffer means lower latency between pressing a key and hearing
the note but a higher strain on your CPU.
A fast, modern computer should be easily able to operate at low sample buffer
sizes (256 or 128) without audio glitches. However, if you do hear clicks, pops
or other audio disruptions, try increasing the buffer size until you reach smooth
playback without any glitches. The latency time is displayed in milliseconds on
the right-hand side of this menu.
• The Sample Rate menu lets you set the sample rate at which audio is sent out
of the instrument. The options listed here will depend on the capability of your
audio interface hardware.
 ♪ Virtually, all audio hardware can operate at 44.1 or 48 kHz which is perfectly fine in
most applications, including Analog Lab. Higher sample rates place greater loads on the
CPU so we recommend staying at 44.1 or 48 kHz unless you have a specific requirements
to work at high sample rates.
Arturia - User Manual Analog Lab V - Activation and Setup 12

• Test Tone plays a simple test tone to help you troubleshoot any audio issues. You
can use this feature to confirm if the instrument is routed correctly through your
audio interface and whether audio is playing back to where you expect to hear
it (your speakers or headphones, for example).
• Your connected MIDI devices will appear in the MIDI Settings area. Note that
this is only displayed if MIDI devices are present on your computer. Click the
check box to accept MIDI data from the device you want to use to trigger the
instrument. Note that you can select more than one MIDI device if you wish to
play Analog Lab V from multiple controllers.
• Tempo lets you set the tempo of the Analog Lab V sequencer. When using Analog
Lab V within a host music software as a plugin, the virtual instrument gets tempo
information from your host software.
2.2.2. macOS Users: Audio and MIDI settings
The process of setting up Audio and MIDI settings in a macOS system is overwhelmingly
similar to setting them up in Windows (described above), and the menu is accessed in an
identical way. The only difference here in macOS is that OS X uses CoreAudio to handle
audio routing, and within that, your audio device will be available in the second drop-down
menu.
2.2.3. Using Analog Lab V in Plugin Mode
Analog Lab V comes in VST, AU and AAX plug-in formats for use in all major digital audio
workstation (DAW) host software, such as Cubase, Logic Pro, Pro Tools and more. You can
load it as a plug-in instrument and its interface and settings will work in the same way as in
standalone mode, with a few small differences:
• The instrument will now sync to your DAW’s host tempo.

• You can automate numerous parameters using your DAW’s automation system.
• You can use more than one instance of Analog Lab V in a DAW project (in
standalone mode you can only run one instance of Analog Lab).
• You can route Analog Lab V’s audio outputs more creatively inside your DAW
using the DAW’s own audio routing system.
Now that you've set up your software, it’s time to play!
13 Arturia - User Manual Analog Lab V - Activation and Setup

3. INTERFACE OVERVIEW
Analog Lab V contains over 2,000 Presets carefully selected from Arturia’s award-winning
V Collection of classic keyboard and synthesizer emulations as well as our original soft
synth, Pigments.
If you own individual virtual instruments from Arturia, that number goes up because their
Presets become available in Analog Lab V. So do any Presets from Analog Lab 4.
This chapter covers the parts of Analog V’s interface that are always present as well as how
to browse and search for Presets.
When you launch Analog Lab V, the main interface opens in Library View [p.6] and consists
of the following sections:
1. Upper Toolbar: [p.15] This toolbar includes a "hamburger" button (three horizontal
lines) with a drop-down main menu, a preset bar to flick through and like (heart
icon) presets, and an expandable Settings Panel in the top right corner.
2. Preset Browser: [p.19] This navigation panel lets you explore available Presets,
access your personalized library of sounds, and organize sounds in Playlists for
live use.
3. Settings Panel: [p.33] The Settings panel appears when you click the gear icon in
the top right corner in the Upper Toolbar. Four tabs access Global/Preset Settings,
MIDI Learn and settings, Macros, and in-app Tutorials.
4. Performance Controls: [p.46] Adjust Macros (multiple parameters accessed by

one knob) and effects sends for your presets here. Their visibility is toggled in the
Lower Toolbar.
5. Virtual Keyboard: [p.47] Onscreen keyboard from which you can play Analog Lab
V without an attached controller.
6. Lower Toolbar: [p.48] The Lower Toolbar lets you make the knobs and the
keyboard appear, set up keyboard settings, access your history of actions, and
monitor CPU levels.
Arturia - User Manual Analog Lab V - Interface Overview 14

3.1. Upper Toolbar
The Upper Toolbar accesses the following features: the drop-down main menu, the Preset
browsing bar, and the gear icon to access Settings.
3.1.1. Main Menu
Clicking the hamburger icon in the top left corner opens a drop-down menu and lets you
access several important features. Let’s look at them in detail.
3.1.1.1. New Preset
Creates a new preset with default settings on all parameters. Click Explore on the Sidebar to
view a list of the sounds you are choosing from.
3.1.1.2. Save Preset
Overwrites the current preset with any changes you have made. This applies only to user
Presets; the option is greyed out for factory Presets.
15 Arturia - User Manual Analog Lab V - Interface Overview

3.1.1.3. Save Preset As
Saves the current state of Analog Lab V under a different Preset name. Clicking this option
reveals a window where you can name your Preset and enter more detailed information
about it.
 ♪ Arturia's powerful browsing system lets you save much more than a Preset name. You can
enter the Author’s name, select a Bank and Type, assign multiple tags that describe the sound, and
even create your own Bank, Type, and comments. This information is read by the Preset Browser and
relevant for future searches.
3.1.1.4. Import
This command lets you import a Preset file, an entire bank, or a set of playlists exported
from another Arturia instrument. When importing a playlist file (.aplst), it will show up in
'Playlists' in the panel on the left side (please refer to the Stage View and Playlists [p.65]
chapter of this user guide to learn more). This function is useful for collaborating with other
musicians and sharing sound banks.
 ♪ Any sound banks or virtual instruments that you purchased and installed via the Arturia Software
Center or Arturia Sound Store will not need to be individually imported. Analog Lab V will automatically
add these to your library.
3.1.1.5. Export
You can export presets in two ways - as a single preset, or as a bank. - Export Preset:
Exporting a single preset is handy for sharing a preset with someone else. The default
path to these files will appear in the 'save' window, but you can create a folder in another
location if you like. The saved preset can be reloaded using the Import menu option. - Export
Bank: This option exports an entire bank of sounds from the instrument, which is useful for
backing up or sharing presets. Saved banks can be reloaded using the Import menu option.

3.1.1.6. Resize Window
Analog Lab V can be resized from 50% to 200% of its original size without any visual
artifacts. On a smaller screen such as a laptop you may want to reduce the interface size
so it doesn’t dominate the display. On a larger screen or a second monitor you can increase
the size to get a better view of the controls and graphics.
3.1.1.7. Audio MIDI Settings
This dialogue is only available when Analog Lab V is used stand-alone. When it’s used as a
plug-in, similar parameters are handled in the Preferences or Project settings of your DAW.
See the chapter on Activation and Setup [p.10] for details on these settings.
3.1.1.8. Tutorials
Analog Lab V comes with tutorials that walk you through different features of the
instrument. Select one to access step-by-step descriptions of how to make the most of the
software's features.
3.1.1.9. Help
Get more help by visiting links to the Analog Lab V User Manual and Frequently Asked
Questions pages on Arturia’s website. You will need an internet connection to access these
pages.
3.1.1.10. About
Here you can view the software version and developer credits. Click again anywhere on the
screen to make this pop-up window disappear.

3.1.1.11. Include Legacy Sounds
This option will appear if you have certain earlier versions of V Collection instruments and/
or Analog Lab 4. If checked, Presets from those versions will show up in the Browser and
search results of Analog Lab V.
3.1.2. Preset Bar and Navigation Arrows
This area of the Upper Toolbar displays the name of the current Preset. The heart icon lets
you like your preset, i.e. flag it as a favorite. To access all your liked sounds, click on 'Liked'
in the left side pannel under My Library. You can also click the heart icon at the top left of
any list of Presets or search results to bring all liked Presets to the top.
The arrows step through a list of Presets narrowed by any results of searching or browsing
in Library view.
 ♪ The arrows can be MIDI mapped. This means you can assign buttons on your MIDI Controller to
easily step through Presets without having to use the mouse at all.
3.1.3. Gear Icon
Clicking on the gear icon makes the Settings Panel [p.33] appear.

3.2. Preset Browser
The heart of Library view lets you select from a number of sources and subsets of Analog
Lab V Presets. These are selected in the sidebar on the left side of the window.

3.2.1. Home
The main page in Analog Lab V’s Browser is for discovering Presets by Types, Arturia
instruments, installed sound banks, and designers.
Step through the offerings in any section using the left and right arrows, or click Show All to
display every item in that section.
3.2.1.1. Searching and Browsing in the Home Page
Entering text in the search bar will display a pop-up of further options based on where
Presets and banks that fit the search can be found, like so:

3.2.1.2. Instrument Previews in the Home Page
Hover over any instrument to bring up its preview. This includes a bit of info and a clickable
10-second audio demo.
Click one of the choices under Presets Examples to load that Preset without needing to leave
the Home Page.
Click See More to bring up the instrument’s Presets in the Explore [p.23] view.

3.2.1.3. Type Previews in the Home Page
When browsing types in the Home Page, hovering on one of the circular icons brings up a
preview as well.
The audio demo, Presets Examples, and See More options work as they do in the Instrument
Previews described above.

3.2.2. Explore
Here you can explore and search Presets in all local factory and user banks. Owners of other
Arturia software instruments will notice that Explore mode is closest to the familiar Preset
Browser.
3.2.2.1. Searching in the Explore Page
Typing any text into the search bar works in conjunction with tags (see below) to determine
the search results. If you do not enter any text or select any tags [p.24], the results are all
available Analog Lab V presets (which can be a lot to go through)! Searching works on 3
levels at once:
• It looks for Presets that contain the exact word(s) you typed.
◦ It locates any tags that match your search term.
◦ It offers the option to search for the desired sound in the Arturia
Sound Store [p.26].

3.2.2.2. Using Tags as a Filter
You can narrow (and sometimes expand) your search using different tags. Each section can
be minimized using the arrow by its header if you don’t wish to use it.
There are 5 kinds of tags:
• Instruments: The source instrument used to generate the sound.

• Types: Categories of musical instruments and sound effects.
◦ Styles: Descriptive terms relating to musical genre, sonic
characterisics, and general "vibe."
◦ Banks: Focuses on Presets based on the bank they belong to.
-Designers: The sound designers responsible for crafting the Presets
in Analog Lab V.
Click Show Results to display all tagged Presets in a list.
Selecting multiple tags will often narrow your search results via a process of elimination —
that is, only the Presets answering to all tags will show up.

3.2.2.3. Sorting Search Results
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 top of the
list. These will appear just under any Presets you have liked [p.25].
The third column has 3 header options: DESIGNER, BANK, and INSTRUMENT. Click the
hamburger icon to choose between them. Then click the header name to flip the
alphabetical order.
Press the Shuffle icon (two overlapping arrows) at the top right of the results to mix up their
order. This makes Preset browsing more spontaneous and can help you find sounds that
you might not otherwise come across.
3.2.2.4. Clearing Tags
Just below the tag buttons are labels for all the active tags in a search. Click the X next to
anyone to remove it (and thus broaden the results). Click Clear ALL to remove all tags.
3.2.2.5. Liking Presets
As you explore and create Presets you can mark them as Liked by clicking the heart next to
their names. Later, click on the heart icon to put all of your favorites at the top of the Results
list.

3.2.3. Store
Visit the in-app Arturia Sound Store to equip your setup with many more inspiring sounds.
The Store shows the latest releases. Clicking on the packs lets you listen to a few sample
presets. Make sure you're signed into your Arturia account to complete check-out. Click
Owned Banks to view the packs you already own.

3.2.4. My Library
This area keeps track of sounds you’ve worked with in 4 ways:
3.2.4.1. Recently Played
The Presets you have most recently played, displayed most recent first. This is great for
when you can’t remember the name of a Preset you were really enjoying a day or more
ago.
3.2.4.2. Liked
Presets you have liked [p.25] using the heart icon.
 ♪ If you liked Presets in Analog Lab 4, these will show up here.
3.2.4.3. Saved Presets
Presets you have created using a Save or Save As operation from the Main Menu [p.15].
3.2.4.4. My Banks
Any banks you have created, imported, or purchased.
 ♪ If you liked your favorite sounds in Analog Lab 4, these will now automatically show up in your
'Liked' sounds in Analog Lab V library as well.

3.2.5. Playlists
Playlists are a powerful tool for organizing Presets, especially into set lists for live
performance. You can drag Presets from any list of search results into a Playlist, like so:
Playlists can be further organized into Songs with Presets tied to each song. We cover this
in detail in the chapter on Stage View and Playlists [p.65].

3.2.6. Preset Info Section
Details about the current preset are displayed in an area to the right of the central Browser
area. There are two kinds of Presets: Singles and Multis, i.e. Presets with either one or two
instruments. Here is what the info section shows for a Multi:

Here is what it shows for a Single:
Hover the mouse in this area to display all the options. Click More Info to toggle a pane
showing the Designer, Type, Bank, and tags.
You may change these and add tags for user (but not factory) Presets. This also applies to
the Preset name at the top of this area.
3.2.6.1. Editing Instruments
Any individual Arturia instruments for which you own full copies will show an Open option.
Click this to open the instrument’s full interface:

Click Back to return to the Browser (Library View). From here, you can also open the Settings
Panel to assign the instrument’s parameters to Macros [p.42].
3.2.6.2. Edit Preset
Click the Edit Preset button to open the current Preset in Studio View [p.7]
3.2.6.3. Adding Instruments
Single Presets display the option Add Instrument. Clicking this prompts you to select an
Preset from the Explore [p.23] or My Library [p.27] sections of the Browser. If the new Preset
is a Multi, you will be prompted to select whether you want to replace Part 1, Part 2, or both.
3.2.6.4. Removing Instruments
Click the X at the top right corner of the instrument to remove it from the Preset altogether.
 ♪ You can also drag any Preset from a list in the Browser into this area to replace a deleted
instrument or turn a single-instrument Preset into a Multi.
3.2.6.5. Replacing Instruments
In a Multi, click Replace to change an instrument. You can then search as above for a new
Preset. If replacing the Multi with another Multi, you will be prompted to select whether you
want to replace Part 1, Part 2, or both.

3.2.6.6. Preset Info Menu
Clicking the 3-vertical-dots icon displays a pop-up with the following options for managing
the current Preset:
• Save and Save As: These correspond to the options in the Main Menu [p.15], with
the former only appearing in user Presets. The Save-As options for Part 1 and
Part 2 only appear if the Preset is a Multi.
• Add Preset to Playlist: This is very useful for bookmarking a preset you’ve fallen
in love with.
• Discover Similar Presets: This option analyzes all of the sounds in your Analog
Lab V collection and makes recommendations based on sonic similarity, using
advanced machine learning. Results are displayed in the Explore view:
Your original Preset is always included in this list. Two more important options are:
• Analyse Users Presets: Analyzes user-generated or imported presets that have

not been added to the database of the AI system. Note: this can take some time.
• Analyse Current Preset: Click the note icon that appears to the right of a Preset
name in the list to use it as the basis of a new scan.

3.3. Settings Panel
Clicking the gear icon in the top right corner will open and close the Settings Panel, where
you'll find the following 4 tabs:
• Settings [p.33]
• MIDI [p.36]
• Macro [p.42]
• Tutorials [p.45]
3.3.1. Settings Tab
Click Settings to access drop-down menus where you can set the global MIDI receive
channel and adjust other parameters that govern Analog Lab V’s overall behavior.

3.3.1.1. MIDI Channel
Click on 'MIDI Channel' to expand its selection to show the full range of values you can select
(All, 1-16).
 ♪ By default, Analog Lab V receives on all 16 MIDI channels (omni). You can change this by selecting
a specific channel in this menu. Do this if, for example, you want to use an external controller to use a
number of instances of Analog Lab V.
3.3.1.2. Multi Core
When on, Analog V optimizes its operation for multi-core computer CPUs. It does so by
running each instrument in a Multi (a Preset with two instruments) on a different core.
3.3.1.3. Text To Speech
When on, this makes Analog Lab V more accessible to persons with visual challenges.
With a MIDI controller connected and configured, Analog Lab V will verbally read what
is displayed on the controller’s screen and/or what parameter is being controlled when a
knob, slider, or button is moved. We cover the details of how to configure your controller for
text-to-speech are in the section on Accessibility [p.74].

3.3.1.4. Start Page
This menu selects which Library View page from the Preset Browser [p.19] is displayed when
you start up Analog Lab V. The two available options are Home (the default) and Explore.

3.3.2. MIDI Tab
Here you can configure Analog Lab V to work with MIDI controllers and map its parameters
to physical controls.
3.3.2.1. MIDI Controller
Select a MIDI controller to play Analog Lab V. If you have an Arturia MIDI controller it will be
auto-detected and mapped, along with the layout of the onscreen keyboard controls [p.46].
If you use a different brand of controller, select Generic MIDI Controller to create your own
MIDI assignments.
The Mixer and all of the effects can respond to MIDI and are MIDI-learnable. This means
that if you put Analog Lab V into MIDI learn mode, you will be able to control any of the
highlighted parameters with your hardware MIDI controller.
 ♪ If you own an Arturia MIDI controller but still prefer to map controls manually, select 'Generic MIDI
Controller' in the MIDI Controller menu.

3.3.2.2. Fader Mode
This menu determines the pick-up behavior of faders and non-endless knobs on Arturia
MIDI controllers. That is, what happens when the position of a physical fader does not
match the stored value of the parameter it is controlling.
• None: Snaps the onscreen control to the physical position of your control as soon
as you move the fader. This is the simplest approach but can result in jumps in
the parameter value.
• Hook: The physical control does not have an effect until it matches the position of
the onscreen control. This avoids jumps but the trade-off is that you sometimes
won’t hear anything.
• Scale: When you move the physical control, the onscreen control gradually
moves until the two are synchronized. This is the best of both approaches
because it avoids sudden jumps and produces an effect as soon as you move a
physical control.

3.3.2.3. MIDI Config
This menu lets you manage different sets of MIDI maps for controlling Analog Lab V from
MIDI hardware. You can Save/Save As the current MIDI assignment setup or delete it,
import a configuration file, or export the currently active one.
Two options in this menu are especially powerful:
• Empty: Removes the assignments of all controls.

• Default: Gives you a starting point with pre-set controller assignments.
If you have multiple controllers (a small live performance keyboard, a large studio
keyboard, a pad controller, etc.), you can create a profile for each of and then quickly load it
here afterwards. This saves you from having to redo MIDI assignments from scratch each
time you swap hardware.
 ! If you connect your MIDI controller to your laptop after launching the Analog Lab V software,
you will need to quit the software and relaunch it again in order to see all the options related to your
controller.

3.3.2.4. MIDI Learn
Click the Learn Button to assign physical controls to onscreen controls. When MIDI Learn is
active, any available onscreen control in any view turns purple. Controls already assigned
are shown in red. Here is an example in Studio View:
Click on a purple control, then move a phyiscal control to assign it. The control turns red and
the assignment shows up in the list [p.40]. Click Learn again to disengage Learn mode when
you’re done with assignments.
3.3.2.5. Reserved MIDI CC numbers
Certain MIDI Continuous Controller (CC) numbers are reserved and cannot be reassigned to
other controls.
• Pitch-Bend
• Modulation Wheel (CC 1)
• Expression (CC 11)
• Channel Aftertouch
• Sustain (CC 64)
• All Notes Off (CC 123)
All other MIDI CCs may be used to control any assignable parameter in Analog Lab V.

3.3.2.6. Add Control
You can also assign controls directly by clicking Add Control at the bottom of this area. This
brings up a large menu of every assignable parameter in the current Preset. Select one, then
move the desired physical control to make the assignment.
3.3.2.7. Assignments List
This is a complete list of all MIDI assignments in the current Preset.
Click-drag on the Min and Max values to scale parameters. For example, you may want a
full physical knob twist to move an onscreen control through only half of its travel.

Right-clicking on any row in the list introduces four options. These can be different for each
assignment in the list if desired.
• Absolute: The value sent to an onscreen control simply equals the literal position
value of the physical control.
• Relative: Moving a physical control up or down begins at the stored value for the
onscreen control, then goes from there.
• Delete: Removes the assignment from the list. The assigned control will turn
purple if in Learn mode.
• Change Parameter: Lets you change the assigned control via the same menu as
Add Control.
 ♪ You can also remove an assignment by right-clicking any red control while in MIDI Learn mode,
or clicking on the assignment in the list and then pressing Delete on your computer keyboard.

3.3.3. Macro Tab
Macros are one of Analog Lab V’s most powerful features. They let you control multiple
parameters with a single knob movement. The 4 Macros correspond to the first 4
defaultPerformance Controls [p.46]: Brightness, Timbre, Time, and Movement.
Assigning parameters to a Macro works similarly to MIDI Learning. For powerful control in
live performance, the idea is to assign desired parameters to a Macro, then MIDI Learn [p.39]
that Macro’s knob to a physical controller.
3.3.3.1. Assigning Parameters to a Macro
Click one of the 4 knobs in the Macro tab to select the Macro to work with. Then click the
Learn button. This will switch Analog Lab V’s interface to Studio View where you can see
your instrument part(s) and effects:
Again, available parameters appear in purple and already-assigned ones appear in red.
Simply click any parameter to add it to the Macro. You will need to click Learn again to select
the next parameter.

To remove a parameter from the Macro, right-click its name in the list and select Delete.
Parameters under Macro control have Min and Max values and may be scaled by dragging
on the number, similarly to MIDI assignments.
 ♪ The names of the macros are only suggestions to help you stay organized. You can freely assign
any eligible parameter to any of the Macros.
3.3.3.2. Macros and Individual Instruments
If you own a full version of any V Collection instrument, you can assign parameters within
that instrument to the Macro.
Click Open beneath the instrument icon to open the instrument’s full interface. Now, Learn
mode in the Macro will display available controls in purple. Here’s an example using ARP
2600 V.

3.3.3.3. Macros and Multis
Macros behave somewhat differently in a Multi (a Preset containing two instruments). If you
own full versions of the instruments in the two parts, a Macro is in fact 3 Macros in one. (If
you own just one of the two instruments, it’s 2 Macros in one.)
Clicking on the instrument’s channel strip assigns the Performance Control knobs and their
Macros to just that Part — notice that above, the text above them now reads "Controlling Part
1." They’re color-coded to Part 1 (orange) as are the knobs in the Macro tab, and the Macro
itself is different:
Very importantly, this also applies to the controls on a connected MIDI controller.

3.3.3.4. Macro Curves
You can customize a curve that determines how each parameter in the Macro moves from
its minimum to maximum value and back when you turn the Macro knob. Click the > icon
next to the parameter name to open the curve window.
Click on the curve to add a breakpoint, represented by a small circle. You can then drag the
point to make the curve segments between it and its nearest neighbors change accordingly.
Right- or control-click on a point to remove it. The first and last breakpoints cannot be
removed.
3.3.4. Tutorials Tab
In this tab, which can also be opened by selecting Tutorials from the Main Menu [p.15], you
can click on titles for the individual chapters, which in turn will take you through different
areas of OB-Xa V in steps. The parts of the interface to focus on are highlighted as you go.
Note that the Settings, MIDI, and Macro tabs are not available during an active tutorial, as
they use the same space on the screen.

3.4. Performance Controls
These are the main controls for real-time command over your sound during live
performance. Controls [p.48] in the Lower Toolbar must be selected for them to be visible,
but otherwise they are available in any view or screen of Analog Lab V.
The following are the default controls for when no MIDI controller is connected.
Brightness, Timbre, Time, and Movement are larger versions of the knobs found in the Macro
Tab [p.42] and affect multiple parameters according to settings you have made there.
Effect A and Effect B control the Dry/Wet mix of virtual effects pedals you inserted in Studio
View [p.7].
Delay and Reverb do the same for the Delay and Reverb effects that are always present in
Studio View.
Master controls the master output volume.
3.4.1. Performance Controls and MIDI Controllers
When an Arturia controller is connected, Analog Lab V auto-detects it and changes the
Performance Controls accordingly. For example, an large KeyLab 88 Mk.II will show many
more controls in this area than the defaults above. Further optimizations are detailed in the
section on interaction with hardware [p.84]. Here is an example of the KeyLab 88 controller
auto-mapped to a Preset that uses our CS-80 V instrument.
With non-Arturia controllers, the Generic MIDI Controller [p.36] options also change the
onscreen controls. Here is an example of the Generic 9 Knobs + 9 Faders setup with the
same Preset.
The four Macros (Brightness, Timbre, Time, and Movement) will still be there regardless.

3.5. Virtual Keyboard
The onscreen keyboard lets you play notes with the mouse.
Clicking lower on a key will send higher velocity messages (on velocity-sensitive Presets).
Pitch-Bend and Modulation wheels are also provided.
3.5.1. Splits and Layers
With Multis, you can drag the edges of the color bars above the keys to set the key range
for each part. This will also be reflected in the Keyboard Settings [p.48]. Part 1 is orange; Part
2 is green.

3.6. Lower Toolbar
The bottom strip of the Analog Lab V window is home to a number of informative and
utilitarian functions. Let’s take them from left to right.
3.6.1. Parameter Name
The lower left corner displays the name of any parameter you select or hover over with
the mouse. This works for Analog Lab V parameters in general as well as those within
instruments’ interfaces if you own full versions.
3.6.2. Keyb Settings
This button only appears if the current Preset is a Multi. It brings up the following panel of
zone settings for the two parts, using the same space as the Performance Controls [p.46].
These govern which key range plays each Part, octave shift and transposing, whether
the Part responds to wheels and pedals, and more. We cover these in more detail in the
following chapter, Studio View [p.7].
3.6.3. Controls
This button must be on for either the Perfomance Controls [p.46] or Keyboard Settings to be
visible. Turning it off lets you look at slightly longer lists in the Library View.
3.6.4. Keys
This button shows or hides the Virtual Keyboard [p.47]. Again, you’d normally want it visible,
but hiding it can extend your view of other things.
3.6.5. Undo/Redo
The hamburger icon flanked by left and right arrows keeps track of your edits and changes.
• Undo (left arrow): Undoes the most recent change.
• Redo (right arrow): Redoes the most recently undone change.
• Undo History (hamburger icon): Displays a list of changes. Click on a change to

restore the patch to that state. This can be useful in the event you happened to
go too far in your sound design and want to revert to an earlier version.

3.6.6. CPU Meter and Panic Button
Displays the current CPU usage of the instrument. Clicking on the CPU meter will send a
MIDI panic, silencing all notes and resetting MIDI signals in the event of stuck notes or other
issues.
 ! If the CPU meter is high, you may hear audible glitches. If so, consider increasing the audio
buffer size setting. This is found under Audio MIDI Settings [p.17] in Standalone Mode or in your DAW
preferences.
3.6.7. Unison and Other Settings
Certain other settings may make a guest appearance in the Lower Toolbar depending on the
instrument loaded. For example, if the instrument has a Unison mode turned on, opening/
editing it will display a Unison voice count option, as with this DX7 V preset:
Note priority on monophonic or unison Presets is another frequent guest here.

4. STUDIO VIEW
Studio View is for fine-tuning and manipulating the Presets to fit to your musical vision — in
other words, creative sound design. It’s where you’ll decide how your selection of Presets
will behave when you're playing them. You can then save your Presets in Playlists for use
in Stage View [p.65] for live performance. In Studio View you can have a single-instrument
Preset or combine instruments in a Multi.
How To Access Studio View
In previous versions of Analog Lab, the Library, Studio, and Stage views were accessed by
tabs in the Upper Toolbar. In Analog Lab V, there are two ways in:
• Click Edit Preset in the Preset Info Section [p.29] of the Preset Browser (Library
View).
• Click the Gear icon, select the Macro Tab [p.42], then click Learn. (This will assume
you want to assign parameters to Macros and display available ones in purple.)
Arturia - User Manual Analog Lab V - Studio View 50

With the Performance Controls [p.46] and Virtual Keyboard [p.47] hidden for clarity, Studio
View breaks down into 4 sections:
1. Part Channel Strips: [p.52]: Parts 1 and 2 each host an instrument. For a Single
Preset, you’ll only use Part 1.
2. Insert Effects: [p.58] Effects slots A and B can each load one of 9 pedal-style
insert effects. These are in addition to any effects that are part of the Preset’s
instrument(s).
3. Delay and Reverb: [p.60] These two send-based effects are always shown, but
can be turned down or off. Again, these are in addition to any effects that are
part of the Preset’s instrument(s).
4. Master Section: [p.62] Master output fader and 3-band EQ.
Not listed here is Keyboard Settings [p.63], an important setup area covered at the end of
this chapter.
51 Arturia - User Manual Analog Lab V - Studio View

4.1. Part Channel Strips
These are like mixer channels — you get one in a Single Preset and two in a Multi.
4.1.1. Opening an Instrument
Clicking Open will open up the instrument’s full interface if you own a full copy of that
Arturia virtual instrument.

You can then edit all its parameters and/or assign them to Macros, and save the whole thing
as part of the Preset using the Main Menu [p.15]. Afterwards, click the Back button in the
Upper Toolbar to return to Studio View.
4.1.2. Replacing an Instrument
Click Replace to replace the instrument in the Part Channel Strip. This actually takes you
back into the Preset Browser [p.19] in Libary view to shop for a new Preset.
Note that the Preset name field at the top now says "Replacing Part 1" (or Part 2). Search by
the methods already covered, select your Preset, and click Done in the Preset Info Section.
Then click Edit Preset to return to Studio View.
If the new Preset you select is a Multi, you will be prompted to choose whether you want to
replace Part 1, Part 2, or both.

4.1.3. Removing an Instrument
Click the X at the top right corner of a Part strip to clear its instrument. The strip will go blank
except for this:
4.1.4. Starting from a Blank Strip
Click the above area to once again return to the Preset Browser, where the Preset name
field will now remind you that you’re Adding a part:
As with replacing, search, click Done, then click Edit Preset to return to Studio View. If the
new Preset you select is a Multi, you will be prompted to choose Part 1, Part 2, or both.

4.1.5. Effect Assignments
The buttons in the middle of the Part Strip assign either Part to the Insert Effects, Delay, and
Reverb.
• FX A: Inserts Effect A into the Part.

• FX B: Inserts Effect B into the Part.
• Delay: Sends the Part to the Delay.
• Reverb: Sends the Part to the Reverb.
4.1.5.1. Inserts vs. Sends
Effects (FX) A and B are inserts, meaning that using one is like the Part has its own effects
loop. The effected signal then goes to the Delay and/or reverb (if selected), then the Master
Section.
They are also in series, meaning that the output of Effect A feeds the input of B. Each Insert
Effect can only be activated on one part — if FX A or B is already clicked on Part 1 in a Multi,
clicking it on Part 2 will "steal" it.
The Delay and Reverb are on sends downstream of FX A and B. These two are in parallel,
and can be mixed separately with their respective faders into the Master Section. Each or
both can be active for both Parts at the same time.
4.1.6. Pan, Mute, and Fader
Each Part also has a stereo Pan knob, a level fader, and an on/off icon for muting the Part
without needing to remove it. This is useful when you need to work on just the other part in
a Multi.
 ! The Pan knob functions as an offset from any stereo panning parameters within individual
instruments. This will not be an issue if using Analog Lab V on its own, but may come into play if you’ve
integrated full copies of V Collection instruments.

4.1.7. Parts in Multis
Clicking in the grey background of either Part Strip in a Multi will confine the Instrument
section of the Performance Controls [p.46] (plus related Macros) to controlling only that Part.
Importantly, this also applies to the hardware controls of a connected MIDI controller.
The knob icon in the upper right corner of the strip denotes that you are now controlling an
individual Part, as does the color bar across the bottom of the strip: orange for Part 1, green
for Part 2. Controls outlined in blue affect the entire Preset and both Parts in common.

Affected controls (either default or auto-mapped from a connected Arturia MIDI controller)
likewise change color:
To return the controls to the overall Preset (blue mode), simply click in the grey background
of the Part Strip again.

4.2. Insert Effects
These are effects you can select in the Effect A (FX A) and Effect B (FX B) slot.
4.2.1. Selecting an Insert Effect
To select an effect, click the drop-down menu for Effect A or Effect B.

The options are:
• None
• MultiFilter
• ParamEQ
• Compressor
• Distortion
• Chorus
• Flanger
• Phaser
• StereoPan
4.2.2. Common Insert Controls
Effects are styled to look like classic pedals. Each has a Dry/Wet knob that determines the
balance of the pre-effect and processed signals of its assigned part. In the ParamEQ effect,
Dry/Wet is called Scale.
The On/Off icon below each pedal bypasses the effect.
As mentioned, Insert Effects are in series, meaning the audio signal will pass through FX
A first, then into FX B to create a combined sound. This order is independent of the parts:
Whichever part that has FX A activated will come first.
4.2.3. Individual Effects Controls
The controls on the effects "pedals" themselves vary by effect type. To keep this chapter
relatively concise, we cover these in the Insert Effects Parameters [p.76] section of the
Supplemental Info [p.74] chapter.

4.3. Delay and Reverb
The send-based effects are always shown. There are two: a Delay with stereo ping-pong
capability, and a nice, lush, reverb to put your Preset in an acoustic space.
4.3.1. Common Delay/Reverb Controls
Below each pedal is an On/Off icon to bypass it, and a fader to mix its output into the Master
Section. These move in sync with the Delay and Reverb volume knobs in the Performance
Controls [p.46].

4.3.2. Delay
The delay can thicken the sound or add echoes (taps) for call-and-answer effects.
The Delay’s parameters are:
• Time: Sets the overall delay time. Many effects are possible, but as a rough rule
shorter times are good for thickening and longer ones for echoes.
• Feedback: Adjusts the amount of delayed signal that’s fed back into the delay.
You can make echoes go on endlessly with this, but be careful of the volume
because they can build up gain in the signal!
• Stereo: Sets the Stereo width of the delay.
• Sync: When on, the delay syncs to master tempo.
• Ping Pong: When on, delay taps will alternate between the left and right stereo
channels.
• LP Filter: Sets the cutoff of a lowpass filter that applies to the delayed (not dry)
signal only.
• HP Filter: Sets the cutoff of a highpass filter that applies to the delayed (not dry)
signal only.
 ♪ The filters here are useful if you want to delay only the treble or bass portion of a signal.

4.3.3. Reverb
The reverb adds natural reverberation to the sound, simulating being in a concert hall,
church, studio, or other space depending on the settings.
The Reverb’s parameters are:
• Pre-Delay: Adjusts the early reflections you hear as the sound first "bounces off
the walls."
• Size: Adjusts the size of the virtual room.
• Decay: Adjusts the legnth of the "tail" of the reverb.
• Damping: Rolls off the high frequencies of the reverberated signal.
• M/S: Continously adjusts the reverb output between monaural and stereo.
• LP Filter: Sets the cutoff of a lowpass filter that applies to the reverberated (not
dry) signal only.
• HP Filter: Sets the cutoff of a highpass filter that applies to the reverberated (not
dry) signal only.
4.4. Master Section
The final output stage includes a master fader that moves in concert with the Master volume
knob in the Performance Controls [p.46], and simple EQ controls for Bass, Mid, and Treble.

4.5. Keyboard Settings
This applies only to Multis. With Keyb Settings, Controls, and Keys selected in the Lower
Toolbar, you can set the key zone for each Part, as well as how each part responds to
different MIDI channels and control messages.
 ♪ Use the fader in the Master Section to slowly fade out the end of a song. Better yet, MIDI Learn a
physical control such as a pedal or knob to it.
4.5.1. Zoning Settings
Click and drag up or down on the following parameters to change their values:
• Low: The lowest note for each Part.

• High: The highest note for each Part.
• Chan: The receiving MIDI channel for each Part.
• Oct: Octave-shifts each Part.
• Transp: Transposes each Part in semitones.
 ♪ You would ordinarily leave the MIDI channel set to All, but may wish to select a specific channel if
using multiple hardware controllers or a larger controller with different key zones set up to transmit on
different MIDI channels.
4.5.2. Controller Settings
The buttons on the right side of the Keyboard Settings toggle whether each part responds to
the following MIDI messages/controllers:
• Bend: Pitch-Bend
• Wheel: Modulation Wheel
• AT: Channel Aftertouch
• Sust: Sustain Pedal
• Exp: Expression Pedal
 ♪ One Part responding to sustain while the other does not is a good way to solo over held chords.
Or, pitch-bend one part against another that’s holding steady to add some interest to your riffs.

4.6. Exiting Studio View
To leave Studio View and return to the view you were in previously, click the blue Back button
near the right side of the Upper Toolbar.

5. STAGE VIEW AND PLAYLISTS
Playlists let you organize Presets you’ve browsed or searched for in the Preset Broswer
[p.19]. They are an invalable tool for creating sets for different gigs, bands you might play in,
venues, or even moods. In fact, they’re a lot like music playlists on your smartphone, only
you’re the one doing the playing!
We’ll look at the general concepts behind playlists first in this chapter, then move on to
playing live in Stage View [p.70].
5.1. Working With Playlists
Playlists are displayed at the bottom of the left-hand sidebar in the Preset Browser.
Click on New Playlist to create one. A dialogue box will prompt you for a name. Click OK,
and that Playlist will then appear in the menu.
65 Arturia - User Manual Analog Lab V - Stage View and Playlists

5.1.1. Playlist Organization
Playlists in Analog Lab V are divided into Songs, each of which in turn can contain up to 128
Presets. Within a Playlist, Songs are not numbered. Each Preset is numbered, starting at 1 in
each Song:
Click New Song to create a Song within that Playlist. Notice in the above image that Presets
in a Song are automatically numbered (you don’t need to type in the number). Songs
themselves are not numbered.
Arturia - User Manual Analog Lab V - Stage View and Playlists 66

5.1.2. Adding a Preset to a Playlist
There are two ways to do this. From any list of search results in the Preset Browser, you can
simply drag a Preset directly to the Playlist, like so:
Or, choose Add Preset to Playlist from the menu in the Preset Info Section [p.29].

5.1.3. Moving Presets and Songs in a Playlist
Presets always populate at bottom of the Playlist, but may then be dragged into any Song’s
sub-list. The blue line shows where the Preset will be inserted. All Presets in the Song will be
re-numbered automatically.
Likewise, you can drag entire Songs within the Playlist and they will take all their Presets
with them to wherever they’re moved.
5.1.3.1. Right-Click Menus
With longer playlists, it’s more convenient to right-click on either a Preset or Song to bring
up the following options:
You can then Copy it, scroll to a different location, Paste it, and Delete it from the original
location. Pasting requires that you right-click over a different item (Song or Preset) to bring
up the menu again. The pasted Song or Preset will always appear below the place where
you did this — Presets below Presets and Songs below Songs.

5.1.4. Playlist Presets Are Independent
Presets you place in a Playlist are saved independently as part of the Playlist. This means
that any change made to the original Preset won’t affect the sound of the Preset in your
Playlist. Conversely, any change made to a Preset in a Playlist won’t affect the original as
found in the Preset Browser. If you’ve tweaked a Preset inside a Playlist and would like to
use that version elsewhere, save a copy of it in a User bank so you can access it without
having to load the Playlist.
5.1.5. Save Your Playlist
Click the blue Save button that appears once you have altered a Playlist.
5.1.6. Playlist Management
Select a Playlist, then click on the 3-dots icon next to its name in the main Search Results
area. This brings up a number of drop-down options for managing your Playlist.
• Save Playlist As: Creates a duplicate of the playlist with “Copy” appended to the
name. You can change the name before saving.
• Rename Playlist: Renames the current Playlist without making a copy.
• Revert changes on Playlist: Cancels all live edits you may have done to Presets
within that Playlist.
• Import Preset: Opens a dialogue to import a Preset stored on your computer
directly to the Playlist.
• Export Playlist: Exports your Playlist to a location on your computer, with the
filename extension “aplst.”
• Delete Playlist: Deletes the current Playlist but does not delete any of the Presets
in it.
• Revert changes when switching Preset: If this is checked when you save a
Playlist, Analog Lab V will save only the edits you have made to the current
preset. If unchecked, all edits you’ve made to Presets in that Playlist are saved.

5.2. Go On Stage
This is where you enter the actual Stage View, where you can step through Songs and
Presets as you play your gig. After you’ve saved your Playlist, click Go On Stage next to the
Playlist name to bring up the following overview:
Note that depending on the settings in the Lower Toolbar, the Performance Controls [p.46],
Keyboard Settings [p.63], or Virtual Keyboard [p.47] may be displayed just below this.
Let’s cover its important areas.
5.2.1. Song and Preset Lists
On the left side of the window, you can step through Songs with the up and down arrowns
in the Song list, or Presets with the arrows in the Preset list. Changing Songs will of course
change all the Presets in the Preset list to match the chosen Song.
5.2.1.1. Stepping Through Your Entire Set
While in Stage View, clicking the master arrows in the Preset name field of the Upper
Toolbar will first step through Presets within the current Song.
• When you reach the last or Preset in a Song, another click of the Down arrow
moves on to the next song.
• If you’re at the first Preset in a song, clicking the Up arrow moves to the final
Preset in the previous Song.
Remember that these arrows can be MIDI Learned [p.36], letting you navigate through a
pre-planned set using a couple of buttons on your MIDI controller!
 ♪ You can also use MIDI bank select and program change messages to switch Presets. When
working this way, bank select MSB chooses the Song while a program change message selects Presets
within that song. This can be a very powerful means of navigation indeed.

5.2.1.2. Changing Playlists in Stage View
You can switch to a whole other playlist from inside Stage View without going "off stage."
Click the carat icon to the right of the Playlist name to bring up the above menu, then simply
select a different Playlist from that menu.

5.2.2. Preset Overiew
This area gives a bird’s eye view of the one or two Parts in your Preset, as well as the effects
in use and a meter of the Master Section output.
 ♪ This area is read-only, meaning you cannot modify things like individual effects parameters. The
only parameters that can be modified in this mode are the Performance Controls or Keyboard Settings
(if displayed). This is done to simplify your life onstage.
5.2.2.1. Controlling Parts in a Multi
In Multi Presets in Stage View, clicking on one of the large instrument thumbnails or the
other will focus the Performance Controls [p.46] and all MIDI-associated hardware controls
on just that Part, similarly to clicking on a Part’s channel strip in a Multi [p.56]. Click the
thumbnail again to return the controls to the overall Preset.
 ♪ If you own an Arturia KeyLab MkII or KeyLab Essential controller, you can select parts directly
using the Part 1, Part 2, or Live buttons. If you own a MiniLab, select Part 1, Part 2, or Live by pressing
Shift + pad 1, 2, or 3, respectively.

5.3. Exiting Stage View
To leave Stage View and return to the view you were in previously, click the blue Back button
found in the Upper Toolbar.

6. SUPPLEMENTAL INFO
This chapter covers three main areas:
1. Accessibility: [p.74] Features of Analog Lab V for visually challenged persons.
2. Insert Effect Parameters: [p.76] A list of settings for each of the 8 effects pedals
available for the Effect A and B inserts in Studio View.
3. Interaction with Hardware: [p.84] Optimizations and key command shortcuts

when Arturia MIDI controllers are used with Analog Lab V.
6.1. Accessibility
Arturia is committed to everyone having access to the joy of making music. For this reason,
we have included text-to-speech features in Analog Lab V, which work when it is connected
to a MIDI controller — one of ours or another brand. The following steps will enable you to
set up Analog Lab V and a controller for visually challenged musicians.
First, enable Text To Speech [p.34] in the main Settings panel accessed by the gear icon.
6.1.1. Configuring an Arturia MIDI Controller
After ensuring the controller is connected to your computer, select it from the MIDI Controller
[p.36] menu of the MIDI Tab in the Settings panel. (You may not need to do this if the
controller was detected automatically.)
With Text To Speech turned on, moving faders and turning the browsing encoder will read
what appears on the controller’s screen, via your computer’s selected audio device.
Arturia - User Manual Analog Lab V - Supplemental Info 74

6.1.1.1. Special Notes on KeyLab MkII and KeyLab Essential
With these families of controllers, the procedure is as above with the addition of the
following steps. This provides read-aloud of even more onscreen items.
• Hold the Category and Preset buttons on the KeyLab.

• Press the main encoder and release.
• Turn the main encoder.
• Press the main encoder again to validate.
With Text To Speech turned on, Analog Lab V will read aloud what appears on the KeyLab’s
screen via your computer’s selected audio device.
6.1.2. Configuring a Non-Arturia MIDI Controller
After connecting the controller, select Generic 9 Knobs or Generic 9 Knobs + 9 Faders from
the MIDI Controller [p.36] menu of the MIDI Tab in the Settings panel — whichever is closer
to the layout of your controller.
Click Add Control at the bottom of the MIDI assignments list to bring up the full menu of
MIDI destinations, and assign encoders and buttons to the following parameters:
• Navigate through presets: encoder

• Select preset: button
• Navigate through filters: encoder
• Add/Remove filters: button
Then, MIDI Learn physical controls to the Performance Controls [p.46] that are displayed.
With Text To Speech turned on, Analog Lab V should read aloud the value of the parameters
and the name of the Filters/Presets being affected as you operate physical controls.
75 Arturia - User Manual Analog Lab V - Supplemental Info

6.2. Insert Effects Parameters
The best way to learn the pedal-style Insert Effects [p.58] is simply to experiment and play
with them. However, for reference, here is a complete list of the effects and their individual
parameters.
6.2.1. Multi-Filter
This is like having a multi-mode synth filter in pedal form.
Control Description
Dry/Wet Controls the balance between the input signal and the effected signal
Mode (left-right
Chooses the filter type
arrows)
Cutoff Sets cutoff or center frequency of filter.
Increases or decreases the amount of emphasis at the corner frequency /

Q
frequencies
Slope Select the filter steepness (LP/HP/BP only)

6.2.2. ParamEq
This is a 3-band parametric EQ with adjustable bandwidth for the mid band and shelving
curves for the high and low bands.
Control Description
Scale Controls the gain of all EQ stages at the same time
Frequency (x3) Adjusts the frequency of each band
Gain (x3) Boosts or cuts each band
Q Adjusts the bandwidth of the mid band

6.2.3. Compressor
A compressor is generally used to maintain a consistent level of sound, though there are
many other ways to use one. For example, it can keep the attack transients of a sound from
overloading the input of the next effect. It can also help a sound which would normally
decay quickly not to fade away as quickly.
Control Description
Dry/Wet Balances the input signal and the compressed signal
Threshold Sets the level where compression will begin
Ratio The amount of compression to be applied once the threshold is reached
Attack Adjusts the speed with which the compression will be applied once the threshold is reached
Release Sets the release curve of the compressor
Makeup Enables automatic control of the output level
Out Gain Compensate for reduction in volume if compression lowers the output level

6.2.4. Distortion
This versatile distortion pedal packs several sound-mangling techniques into one pedal,
including analog overdrive and lo-fi digital bit crushing.
Control Description
Dry/Wet Balances the input signal and the distorted signal
Mode (arrows) Selects Overdrive, Wavefolder, Waveshaper, or Bit-Crusher
Drive Sets the pre-gain of the distortion
Out Gain Adjusts the output level of the effect
Tone Adjusts treble content of the distorted signal in Overdrive mode only
Type Adjusts the shape of wave folding in Wavefolder mode only
Bit Depth Reduces the bit depth in Bit-Crusher mode only
Downsample Reduces the sample rate in Bit-Crusher mode only

6.2.5. Chorus
Stereo chorus is an essential effect in any rig.
Control Description
Dry/Wet Controls the balance between the input signal and the chorused signal
Delay Sets the amount of delay applied to the input signal
Depth Controls the depth of the chorus
LFO Freq Adjusts the speed of the chorus
Feedback Adjusts the amount of chorused signal that is fed back in to the effect
1-2-3 Selects the number of delay lines the chorus uses, with a different starting phase for each voice
Shape Toggles modulation LFO between sine and square waveforms
Stereo Switches the chorus between mono and stereo output

6.2.6. Flanger
Flanging works by mixing two identical signals together, with one signal delayed by a small
and gradually changing period. This produces a swept “jet engine” effect.
Control Description
Dry/Wet Controls the balance between the input signal and the flanged signal
Depth Sets the flanging depth
LFO Rate Controls the modulation rate for the flanger
Feedback Adds feedback for a harsher or "ringing" sound. Maximum is 99% to avoid runaway feedback
LP Filter Use this to define the amount of high-frequency content that will enter the flanger effect
HP Filter This determines the amount of low-frequency content that the flanger effect will receive
Stereo Will switch the flanger output between mono and stereo
Phase Invert Inverts the phase of the flanged signal relative to the input

6.2.7. Phaser
Phasers split the incoming signal, change the phase of one side, and recombine it with the
unaffected signal. Modulation of this signal results in the familiar “whooshing” sound.
Control Description
Dry/Wet Controls the balance between the input signal and the phase-shifted signal
Frequency Sets the harmonic center for the modulation effect
Poles Determines the steepness of the filter frequency response
Feedback Controls the amount of phaser resonance
Stereo Gradually changes the phaser from mono to stereo output
Rate Controls the speed of the phaser effect
Sync When on, the Rate becomes rhythmic divisions of the master tempo
Amount Determines the depth of the phaser effect

6.2.8. Stereo Pan
This simple effect bounces the signal between the left and right stereo channels.
Control Description
Dry/Wet Controls the balance between the input signal and the panned signal
Rate Sets the rate of panning
Sync When on, the Rate becomes rhythmic divisions of the master tempo
Shape Chooses the wave shape of the panning to make the effect more gradual or abrupt
LP Mono When on, exempts low frequencies from the panning effect for a more stable bass end

6.3. Interaction with Hardware
As well as automatically mapping hardware controls directly to Performance Controls [p.46],

Arturia MIDI controllers have a number of built-in shortcuts when directly integrated with
Analog Lab V. The key commands are as follows, where the action is carried out on the
hardware and the results seen in the software.
6.3.1. KeyLab Hardware
• Turn Preset Knob: Browse Presets in the list

• Press Preset Knob: Load the selected Preset in the list
• Turn Category Knob: Browse Filters
• Press Category Knob: Toggle the selected Filter
• Snapshot 1: Select Part 1 (Active Swap Mode, Select Tab Part 1)
• Snapshot 2: Select Part 2 (Active Swap Mode, Select Tab Part 2)
• Snapshot 3: Select Live (Exit Swap Mode, Select Tab Live)
• Snapshot 1+ Snapshot 2 + Press Keys : Set the note as split point
6.3.2. MiniLab Hardware
• Turn Knob 1: Change Volume

• Turn Knob 2: Select Preset in the list, and load it after 1 second
• Pad 9: Select Part 1 (Active Swap Mode, Select Tab Part 1)
• Pad 11: Select Live (Exit Swap Mode, Select Tab Live)
• Pad 9 + Pad 10 + Press Keys: Set the note as split point
6.3.3. MiniLab MkII
• Shift + Turn Knob 1: Change Volume

• Knob 1: Navigate through filters and active/inactive on push
• Knob 2: Navigate through presets and load on push
• Pad 11: Select Live (Exit Swap Mode, Select Tab Live)
• Pad 9 + Pad 10 + Press Keys: Set the note as split point
6.3.4. KeyLab Essential
• Map Select + Pad Analog Lab V: Enter in Analog Lab V control mode
• Press Cat/Char: Enable navigation into the browser filters
• Press Preset: Enable navigation into the presets result list
• Turn Central Knob: Navigate through filters/result list
• Press Central Knob on Result List: Load the selected preset in a list
• Press Central Knob on Filter: Active/Unactive Filters
• Part 1: Select Part 1 (Active Swap Mode, Select Tab Part 1)
• Live: Select Live (Exit Swap Mode, Select Tab Live)
• Live + Press Keys: Set the note as split point

6.3.5. KeyLab MkII
• Map Select + Pad Analog Lab V: Enter in Analog Lab V control mode
• Press Category: Enable navigation into the browser filters
• Press Preset: Enable navigation into the presets result list
• Turn Central Knob: Navigate through filters/result list
• Press Central Knob on Result List: Load the selected preset in a list
• Press Central Knob on Filter: Active/Unactive Filters
• Live: Select Live (Exit Swap Mode, Select Tab Live)
• Live + Press Keys: Set the note as split point
• Part 1 + Octave +/-: Octave-shift Part 1
• Part 2 + Octave +/-: Octave-shift Part 2
• Part 1 + Control: Enable/disable Control on Part 1 (where Control = Pitch-Bend,
Modulation Wheel, Expression, Sustain, Aftertouch)
• Part 2 + Control: Enable/disable Control on Part 2 (where Control = Pitch-Bend,
Modulation Wheel, Expression, Sustain, Aftertouch)
• Fader Buttons: Select filters (when in studio view) and load first nine presets
(when in Stage Mode)
• (When in Stage Mode) Press Left/Right Arrow Buttons to select preset when
Preset button is illuminated
• (When in Stage Mode) Press Left/Right Arrow Buttons select Song when
Category button is illuminated

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from now on). Arturia permits you to only copy, download, install and use the software in
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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 consumer, appear below. By
installing the software on your computer, you agree to these terms and conditions. Please
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conditions, you should not install this software and you should proceed to return it back to
where you purchased it immediately or within 30 days at the latest, in return for a refund
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Arturia - User Manual Analog Lab V - Software License Agreement 86

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The acquisition of an upgrade or update does not in itself follow a right to use the software.
The right for support on a 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 provided on
is free from defects in materials and workmanship under normal use for a period of thirty
(30) days from the date of purchase. Your receipt serves as evidence of the date of your
purchase. Any implied warranties on the software are limited to thirty (30) days from the
date of purchase. Some states do not allow limitations on duration of an implied warranty,
so the above limitation may not apply to you. All programs and accompanying materials
are provided 'as is' without warranty of any kind. The complete risk as to the quality and
performance of the programs is with you. Should the program prove defective, you assume
the entire cost of all necessary servicing, repair or correction.
9. Remedies Arturia's entire liability and your exclusive remedy shall be at Arturia's option
either: (a) return of the purchase price, or (b) replacement of the disk that does not meet
the Limited Warranty and which is returned to Arturia with a copy of your receipt. This
limited Warranty becomes void if failure of the software has resulted from an accident,
abuse, modification, or misapplication. Any replacement software will be warranted for the
remainder of the original warranty period or thirty (30) days, or whichever option is longer.
10. No Other Warranties The above warranties are in lieu of all other warranties, expressed
or implied, including but not limited to the implied warranties of the commercial value and
fitness for a particular purpose. No oral or written information or advice given by Arturia, its
dealers, distributors, agents or employees shall create a warranty or in any way increase
the scope of this limited warranty.
87 Arturia - User Manual Analog Lab V - Software License Agreement

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 from the use of or inability to use this product
(including without limitation, damages for loss of business profits, business interruption, loss
of business information and the like) even if Arturia was previously advised of the possibility
of such damages. Some states do not allow limitations on the length of an implied warranty
or the exclusion or limitation of incidental or consequential damages, so the above limitation
or exclusions may not apply to you. This warranty gives you specific legal rights, and you
may also have other rights which vary from state to state.
Arturia - User Manual Analog Lab V - Software License Agreement 88

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USER MANUAL

Product version: 5.3

Revision date: 12 July 2021

Specifications Subject to Change:

Congratulations on your purchase of Analog Lab V!

The Arturia team

1.1. History of the V Collection

3 Arturia - User Manual Analog Lab V - WELCOME TO ANALOG LAB V

Arturia - User Manual Analog Lab V - WELCOME TO ANALOG LAB V 4

5 Arturia - User Manual Analog Lab V - WELCOME TO ANALOG LAB V

1.3.1. Library View

Arturia - User Manual Analog Lab V - WELCOME TO ANALOG LAB V 6

7 Arturia - User Manual Analog Lab V - WELCOME TO ANALOG LAB V

Arturia - User Manual Analog Lab V - WELCOME TO ANALOG LAB V 8

9 Arturia - User Manual Analog Lab V - WELCOME TO ANALOG LAB V

2.1. Register and Activate

2.1.1. Arturia Software Center (ASC)

After you complete the installation instructions, proceed to do the following:

• Launch the Arturia Software Center (ASC).

It's as simple as that!

2.2. Initial setup for Stand-Alone Use

Arturia - User Manual Analog Lab V - Activation and Setup 10

11 Arturia - User Manual Analog Lab V - Activation and Setup

Arturia - User Manual Analog Lab V - Activation and Setup 12

2.2.2. macOS Users: Audio and MIDI settings

2.2.3. Using Analog Lab V in Plugin Mode

• The instrument will now sync to your DAW’s host tempo.

Now that you've set up your software, it’s time to play!

13 Arturia - User Manual Analog Lab V - Activation and Setup

4. Performance Controls: [p.46] Adjust Macros (multiple parameters accessed by

Arturia - User Manual Analog Lab V - Interface Overview 14

3.1.1. Main Menu

3.1.1.1. New Preset

3.1.1.2. Save Preset

15 Arturia - User Manual Analog Lab V - Interface Overview

Arturia - User Manual Analog Lab V - Interface Overview 16

3.1.1.7. Audio MIDI Settings

17 Arturia - User Manual Analog Lab V - Interface Overview

3.1.2. Preset Bar and Navigation Arrows

3.1.3. Gear Icon

Arturia - User Manual Analog Lab V - Interface Overview 18

19 Arturia - User Manual Analog Lab V - Interface Overview

3.2.1.1. Searching and Browsing in the Home Page

Arturia - User Manual Analog Lab V - Interface Overview 20

21 Arturia - User Manual Analog Lab V - Interface Overview

Arturia - User Manual Analog Lab V - Interface Overview 22

3.2.2.1. Searching in the Explore Page

23 Arturia - User Manual Analog Lab V - Interface Overview

There are 5 kinds of tags:

• Instruments: The source instrument used to generate the sound.

Click Show Results to display all tagged Presets in a list.

Arturia - User Manual Analog Lab V - Interface Overview 24

3.2.2.4. Clearing Tags

3.2.2.5. Liking Presets

25 Arturia - User Manual Analog Lab V - Interface Overview

Arturia - User Manual Analog Lab V - Interface Overview 26

This area keeps track of sounds you’ve worked with in 4 ways: