How it works
Analog subtractive, with two channels (Channel I and II) for each voice: two complete synths playing together on the same note.
Each channel
- VCO: pulse (with PWM), triangle and sawtooth waves that can be switched on together, plus noise; a separate sine wave goes straight to the amplifier without passing through the filter.
- Filters in series: a resonant high-pass followed by a resonant low-pass. Bringing them close together gives a band-pass: the secret of nasal and "vocal" timbres.
- Special filter envelope: it starts from a negative level (Initial Level), rises to a positive level (Attack Level), then returns to zero and, on release, goes back to the initial level. The sustain is always the filter's "zero": the envelope can both close and open the sound.
- VCA with a classic ADSR.
Expression
The keyboard measures velocity (Initial Touch) and the pressure on each key (After Touch): both can increase the brightness (filter cutoff) and the volume of each channel. The ribbon allows glissandi and bends starting from the point touched.
Around it
Ring modulator (multiplies the sound by a sine wave: sum and difference frequencies, metallic timbres), Sub Oscillator (global LFO), built-in chorus and tremolo.
Character and tone
Timbre
Very rich, "orchestral" and extremely expressive: two complete channels per voice (oscillator, high-pass, low-pass, two envelopes) that are summed, a musical ring modulator, a sine wave that bypasses the filter, and sensitivity to velocity and polyphonic aftertouch on brightness and volume.
Where it sits in the spectrum
Wide range: the sine wave gives a clean foundation in the low end (40–200 Hz) without mud; the brass opens up between 800 Hz and 4 kHz, and the high-pass/low-pass filters in series allow narrow-band timbres that are very "present" in the mids.
Strengths
- Expressiveness: per-note brightness and level with pressure (polyphonic aftertouch/MPE), initial bend from velocity, ribbon.
- Resonant HP + LP filters in series with a uniquely designed envelope (Initial Level/Attack Level): attacks that "breathe in."
- Two layers per voice and the Feet section for octaves and fifths: full brass and pads from a single patch.
- Ring modulator with an AD envelope on the speed: dynamic bells and metallic sounds.
Limitations
- Relatively simple oscillators (no sync, no FM between oscillators).
- The full sound requires control: two channels and long releases fill the mix quickly.
- Unusual programming (inverted sliders, non-standard VCF envelope).
Comparisons
- vs Jupiter-8 / Prophet-5: the CS-80 is less "aggressive" but far more expressive and orchestral.
- vs Matrix-12: the Matrix is more flexible in its modulation, the CS-80 more immediate to "play."
- vs modern digital pads: the CS-80 has a warmth and a dynamic brightness that static pads lack.
Architecture
Original (Yamaha CS-80, 1977–1980)
- 8 voices, each voice with 2 channels (2 VCOs in total per voice), each with VCO, resonant HPF and LPF in series, 5-parameter VCF envelope (IL, AL, A, D, R), VCA with ADSR and a separate sine wave level.
- 22 preset tones + memories on miniaturized potentiometers; Feet for the octave of each channel; Detune of channel II.
- Controllers: Sub Oscillator (global LFO), Ring Modulator with AD envelope, Keyboard Control (brightness and level for the keyboard extremes), Touch Response (velocity and polyphonic aftertouch), 3-octave linear ribbon, portamento/glissando, chorus and tremolo.
- 61 weighted keys, about 83 kg, very unstable in tuning.
Signal path (per voice and channel)
VCO (pulse/triangle/saw + noise) → HPF → LPF → VCA → sum of the two channels; sine wave → direct VCA; sum → Ring Modulator → Chorus/Tremolo → output.
What Arturia adds (CS-80 V4, V Collection 9)
- LFO per channel with 6 waveforms (the original had only sine), 3 trigger modes, sync; Sub Oscillator with 6 waveforms and sync.
- Envelope Mode Long (much longer times), Noise Mode Single/Duo (stereo noise), Unison Classic or 2–8 voices, Arpeggiator, mod wheel with 5 sliders, separable EXP/WAH pedals, ribbon in a 1–24 semitone range or CS Linear.
- Voice Dispersion with 7 trimpots per channel.
- Advanced: 3 Functions (drawable envelopes/LFOs, 3 destinations among 87), Modulation Mixer (7 types), Keyboard page (velocity, polyphonic aftertouch, mod wheel, key tracking with curves and 3 destinations), Effects (3 slots, 16 effects).
- Full MPE, adjustable polyphony (up to 8, also Mono and Mono Legato).
The controls, one by one
Channel I / II: LFO
- Trigger mode (FREE / RETRIG / MONO)
- FREE: independent LFOs per voice; RETRIG: restart on every key; MONO: a single common LFO that keeps running even without notes.
- WAVE
- Sine, falling saw, ramp, square, noise, S&H.
- SYNC
- Hz or synced (straight, triplet, dotted) from 1/32 of a bar to 8 bars.
- SPEED
- From 0.1 to 127 Hz in free mode: high speeds enter the audio range and change the timbre.
- PW
- Pulse width from 0.500 (square) to 0.900 (narrow pulse).
- PWM
- Depth of the LFO modulation on the pulse width, from 0 to 10.
Channel I / II: Waveforms
- Switch Pulse / Triangle / Saw
- Waves that can be switched on individually or together.
- NOISE
- Noise level in the channel (wind, breath, attacks); Single or Duo in the side panel.
Channel I / II: VCF
- HPF
- High-pass cutoff from 26.8 Hz to 16.1 kHz.
- RESH
- High-pass resonance (0–1).
- LPF
- Low-pass cutoff from 37.1 Hz to 22.3 kHz.
- RESL
- Low-pass resonance (0–1). HPF and LPF close together = band-pass (nasal sounds, acoustic imitations).
- IL (Initial Level)
- Starting level of the envelope below zero (0 to -5): the filter starts more closed.
- AL (Attack Level)
- Peak level above zero (0 to +5).
- A (Attack)
- Time from IL to AL: 2–580 ms (Classic) or up to 10 s (Long).
- D (Decay)
- Time from AL to zero: up to 8.75 s (Classic) or 25 s (Long).
- R (Release)
- Time from zero to IL after release: up to 11 s (Classic) or 40 s (Long).
Channel I / II: VCA
- VCF LEVEL
- How much filtered signal enters the VCA (0–10).
- Sine wave (slider with icon)
- Level of the sine wave that bypasses the filter (0–10): clean fundamental, sub, body.
- A (Attack)
- 2–885 ms (Classic) or up to 10 s (Long).
- D (Decay)
- Up to 7.35 s (Classic) or 25 s (Long).
- S (Sustain)
- Held level (0–10).
- R (Release)
- Up to 11.5 s (Classic) or 40 s (Long).
- LEVEL
- Output level of the channel (0–10).
Channel I / II: Touch Response
- Initial Touch: BRILLIANCE / LEVEL
- How much velocity opens the filters and raises the channel volume (0–10).
- After Touch: BRILLIANCE / LEVEL
- How much pressure opens the filters and raises the volume, per note (polyphonic aftertouch/MPE).
Upper Controller Panel: Channels
- DETUNE
- Detunes Channel II relative to I: thickness and beating.
- PAN
- Spreads the two channels to left and right.
Ring Modulator
- A
- Attack of the envelope that modulates the ring's speed (3–530 ms).
- D
- Decay of the same envelope (7 ms–4.5 s).
- DEPTH
- Amount of the envelope on the speed (0–1).
- SPEED
- Frequency of the carrier sine wave (0.25–205 Hz): low = tremolo, high = metallic timbres.
- MOD
- Amount of ring modulation on the sound (0–1).
- Note
- The sliders have their minimum value at the top and maximum at the bottom, as on the original.
Sub Oscillator (global LFO)
- SYNC / SPEED
- Free 0.5–100 Hz or synced.
- FUNCTION
- Sine, falling saw, ramp, square, noise, S&H.
- VCO / VCF / VCA / PAN
- Amount of modulation on pitch (vibrato), cutoff (wah), amplitude (tremolo) and pan.
Feet
- Feet I / Feet II
- Octave of each channel: -1 octave, Default, +1 fifth, +1 octave, +1 octave and fifth, +2 octaves.
Tone Selector
- Channel I Tones
- Strings 1, Strings 3, Brass 1, Flute 1, Electric Piano, Clavichord 1, Harpsichord 1, Organ 1, Guitar 1, Funky 1, Funky 3.
- Channel II Tones
- Strings 2, Strings 4, Brass 2, Brass 3, Bass, Clavichord 2, Harpsichord 2, Organ 2, Guitar 2, Funky 2, Funky 4.
- INIT
- Initialized patch for the channel.
- Copy I→II / II→I
- Copies the settings of one channel to the other.
- PANEL
- Lights up when a tone has been modified from the panel.
Global Controls and global Touch Response
- MIX
- Balance between Channel I / II (-1/+1).
- BRILLIANCE
- Global offset of the filter cutoffs (-1/+1).
- RESONANCE
- Global resonance offset (-1/+1).
- PBEND INITIAL
- With high velocities the note starts slightly flat and rises to pitch: brass-style 'swoop'.
- After Touch: SPEED
- Pressure → speed of the Sub Oscillator.
- After Touch: VCO / VCF / PAN
- Pressure → amount of Sub Oscillator modulation on pitch, filter and pan (per note).
Keyboard Control
- BRILLIANCE Low / High
- Brightness offset for the low and high parts of the keyboard.
- LEVEL Low / High
- Level offset for lows and highs (e.g. softer pads at the extremes).
Lower Controller Panel
- WHEEL
- On-screen mod wheel (on the original, tuning was here).
- Modulation sliders: SPEED / VCO / VCF / VCA / PAN
- How much the mod wheel changes the Sub Oscillator's speed and raises its modulation on pitch, filter, amplitude and pan.
- HOLD
- Sustains notes until you turn it off.
- Arpeggiator: ON/OFF, SPEED, SYNC
- Free speed 0.5–100 Hz or synced.
- Arpeggiator: MODE
- UP, DOWN, ORDER, REV, INCL, EXCL, RAND.
- Arpeggiator: OCTAVE / GATE
- Octaves per cycle and step length.
- RIBBON RANGE
- Ribbon range from 1 to 24 semitones or CS Linear (linear in Hz: downward the pitch falls to zero, 'divebomb').
- MASTER TUNE / MASTER VOLUME
- 400–480 Hz; from -60 to 0 dB.
Left-Hand Section
- EXP / WAH
- Expression pedal destination: volume, or volume + filter (wah); separable in V4.
- UNISON
- Classic (polyphonic, voices divided among the notes, up to 4 notes) or 2–8 monophonic voices; Detune in %.
- FOOTSWITCH: SUSTAIN
- Up: extra release always on; down: release controlled by the footswitch.
- FOOTSWITCH: PORTA/GLISS
- Up: portamento always on; down: controlled by the footswitch.
- RELEASE + MODE
- Extra release 0–9 s (Classic) or 30 s (Long); Mode up = each note completes its release, down = tails are cut off if you immediately play something else.
- PORTAMENTO + Porta/Gliss switch
- Time 0–2 s/octave; continuous portamento or semitone glissando.
- Tremolo / Chorus: SPEED, DEPTH, on/off
- Tremolo 1.18–16.3 Hz, Chorus 0.4–1.55 Hz; can be switched on together.
Service Panel: Voice Dispersion
- 1 / 2 / 3 / CUSTOM
- Accurate, moderate or rough calibration.
- 7 trimpots per channel
- VCO pitch stability, PW uniformity, sine wave shape, envelope parameters, filter cutoff, resonance, modulation stability (0 perfect, 1 very unstable).
Side Panel: Settings
- Envelope Mode Classic / Long
- Original times or much longer ones (global).
- Noise Mode Single / Duo
- One shared noise or one per channel (stereo, binaural).
- Poly
- Up to 8 voices; Mono and Mono Legato.
- MPE + MPE Slide 1/2
- MPE enable and Slide destinations.
Advanced: Modulations (Functions)
- SYNC + Rate
- Hz 0.1–50 or sync 8 bars–1/32 (straight, triplet, dotted).
- ENV / LFO / KEY TRIG + POLYPHONIC
- Multi-stage envelope, drawable LFO, LFO restarted on every note; mono or polyphonic.
- BIPOLAR
- Output above and below zero.
- SCALE
- Overall intensity.
- PRESET
- 24 starting shapes.
- Destinations 1–3 + Amount
- Three destinations among 87 (including pairs for both channels), -1/+1.
- Visualizer, Draw Mode, Grid
- Editable points and curves, step/ramp drawing, 16-step grid.
Advanced: Modulation Mixer
- SOURCE 1 / SOURCE 2
- 14 sources (LFOs, envelopes, Keyboard controls, Functions).
- MIXER TYPE + Amount
- Multiply, Diff, Divide, Crossfade, Lag, Sum, Direct routing.
- Destinations 1–3
- Where to send the result.
Advanced: Keyboard
- Velocity / Aftertouch / Mod Wheel / Keyboard Tracking
- Curves with up to 4 points and 3 destinations each (87 possible).
Advanced: Effects
- Parallel / Serial, Presets, Copy, Sync, Dry/Wet
- Three slots with 16 effects: Delay, Tape Echo, Pitch Shift Delay, Reverb, Distortion, Bitcrusher, Compressor, Multiband, Chorus, Chorus JUN-6, Stereo Pan, Phaser, Flanger, BL-20 Flanger, Multi Filter, Parametric Equalizer.
Sound design tips
Filter envelope (IL/AL)
- Think of the VCF envelope as "from closed to open and back": negative IL + positive AL + an A of 80–200 ms is the brass that "breathes" in; IL at 0 and a high AL gives a bright attack that settles.
- The filter sustain is always the value set on HPF/LPF: set the cutoffs first for the held sound, then IL and AL for the attack.
- Filter release: it returns toward IL, so with a very negative IL the tails become dark: for bright pads keep IL near zero.
Filters in series
- HPF between 100 and 300 Hz on pads and brass takes them out of the bass zone without losing body, especially if you use the sine wave for the fundamental.
- Resonance on both filters close together = vocal peak: useful for imitations, but it raises the level a lot in a narrow zone (1–3 kHz).
Two channels
- Give the two channels different roles: one dark with a slow attack, the other bright and short; or one 8' and one 4' with slight Detune. Two identical channels only double the volume.
- MIX and the channel LEVELs are your "internal mixer": balance them before adding effects.
Expression
- Aftertouch → Brilliance (0.3–0.6 per channel) is the heart of the CS-80's expressive sound: the note opens as you press. Lower the starting LPF to leave room for the opening.
- Velocity: moderate Initial Brilliance (2–4) keeps hard notes from becoming shrill; a light PBEND INITIAL for realistic brass.
- Ribbon: range 2–5 semitones for melodic expressiveness; CS Linear only for "falling" effects.
Timing
- With Envelope Mode Long the times get much longer: great for ambient, but make the release consistent with the tempo (at 70 BPM a bar lasts about 3.4 s).
- The footswitch section's RELEASE adds to the channels' releases: if the tails are too long, check that as well.
Frequencies and mix
- Two-channel CS-80 pads pile up at 200–500 Hz: a slight cut there and an internal HPF clean things up.
- Brass presence sits at 1.5–3 kHz; the sine wave gives a clean sub: keep it low if there is already a bass.
- Built-in chorus and tremolo + external effects can make the sound "washed out": pick one.
Common mistakes
- Inverted sliders: remember that the maximum is at the bottom.
- Feet set to fifths unintentionally: unexpected fifth intervals in chords.
- Unison Classic with many notes: beyond 4 notes the unison switches off.
Presets to recreate
Blade Runner — Ribbon Swell Brass
Brass / Lead · Vangelis — Blade Runner (1982)
The synthetic brass that swells like a wave and bends with the ribbon, typical of the Blade Runner soundtrack. On the original recording Vangelis uses the Yamaha CS-80 as his main instrument, with polyphonic aftertouch to give intensity to the notes and the ribbon for bends; the reverb is a Lexicon 224. Here it is recreated with the CS-80 V, its direct emulation.
- Oscillators: Channel I Saw ON, Feet Default (8'); Channel II Pulse ON with PW 0.6 and PWM 2 (channel LFO sine 0.5 Hz), Feet Default; Channel II DETUNE +5 cents.
- Mixer: MIX centered, LEVEL 8 per channel, Sine wave 0, NOISE 0; PAN 0.4.
- Filter: per channel HPF 80 Hz (RESH 0) and LPF 400 Hz with RESL 0.25 on Channel I; HPF 150 Hz and LPF 600 Hz on Channel II.
- Filter envelope: IL -1.5, AL +3, A 300 ms, D 2 s, R 1 s (Channel II with A 200 ms).
- Amplitude envelope: A 250 ms, D 2 s, S 7, R 1 s.
- LFO and modulation: Touch Response per channel After Touch BRILLIANCE 6 and LEVEL 4, Initial Touch BRILLIANCE 3; Sub Oscillator sine 5 Hz with After Touch VCO 0.3 for pressure-controlled vibrato; PBEND INITIAL 0.2.
- Voice and glide: polyphonic, Portamento 0; RIBBON RANGE 5 semitones for downward bends at the end of phrases.
- Effects: Chorus ON (Speed 0.6 Hz, Depth 0.5) → long, dark Reverb (5 s, pre-delay 40 ms, Dry/Wet 35%) and a tempo-synced delay on a send.
Two-Channel Orchestral Pad
Pad · Soundtracks, ambient
Full, shifting pad: the two channels have different filters, envelopes and octaves and add up like two sections of an orchestra.
- Oscillators: Channel I Saw + Triangle, Feet Default; Channel II Pulse ON with PW 0.55 and PWM 3 (LFO sine 0.5 Hz), Feet +1 octave; DETUNE +4 cents.
- Mixer: MIX -0.2 (more Channel I), LEVEL 8 and 6, NOISE 0; PAN 0.6.
- Filter: Channel I HPF 120 Hz, LPF 1.2 kHz, RESL 0.1; Channel II HPF 200 Hz, LPF 2 kHz, RESL 0.
- Filter envelope: Channel I IL 0, AL +1, A 1.5 s, D 3 s, R 3 s; Channel II IL 0, AL +1, A 2 s, D 3 s, R 3 s.
- Amplitude envelope: Channel I A 1 s, D 2 s, S 9, R 3 s; Channel II A 1.5 s, D 2 s, S 9, R 3 s (Envelope Mode Long for slower attacks).
- LFO and modulation: Channel I LFO sine 0.3 Hz without PWM; Keyboard Control LEVEL Low -0.2 so the bass doesn't get clogged.
- Voice and glide: polyphonic, Portamento 0.
- Effects: Chorus ON (Speed 0.5 Hz, Depth 0.4) → hall Reverb (5 s, Dry/Wet 35%).
Sine Bass with 'Click'
Bass · Synthwave, R&B
Deep, clean bass: the sine wave that bypasses the filter provides the body, while Channel II adds a very brief filtered attack.
- Oscillators: Channel I all waves OFF, Feet -1 octave; Channel II Saw ON, Feet Default; DETUNE 0.
- Mixer: Channel I Sine wave 8 and VCF LEVEL 0; Channel II VCF LEVEL 6; MIX toward Channel I (-0.4).
- Filter: Channel II HPF 200 Hz, LPF 800 Hz, RESL 0.3.
- Filter envelope: Channel II IL 0, AL +3, A 2 ms, D 120 ms, R 80 ms.
- Amplitude envelope: Channel I A 2 ms, D 600 ms, S 6, R 120 ms; Channel II A 2 ms, D 150 ms, S 0, R 80 ms.
- LFO and modulation: none (Sub Oscillator at 0).
- Voice and glide: UNISON on 2 voices with Detune 0 for mono mode; PORTAMENTO 0.05 s/octave with footswitch Porta up.
- Effects: Chorus and Tremolo OFF; only a light Compressor (3:1).
Ring Modulator Bell
Keys / FX · Soundtracks, electronic
Bright bell with ring modulation that changes over time thanks to its dedicated envelope.
- Oscillators: Channel I Triangle ON, Feet Default; Channel II Saw ON, Feet +2 octaves; DETUNE 0.
- Mixer: Channel I LEVEL 8, Channel II LEVEL 3; MIX centered.
- Filter: Channel I HPF 300 Hz, LPF 6 kHz, RESL 0; Channel II HPF 500 Hz, LPF 8 kHz.
- Filter envelope: IL 0, AL +2, A 2 ms, D 1.5 s, R 1.5 s.
- Amplitude envelope: Channel I A 2 ms, D 3 s, S 0, R 2.5 s; Channel II A 2 ms, D 800 ms, S 0, R 600 ms.
- LFO and modulation: Ring Modulator SPEED 140 Hz, MOD 0.5, DEPTH 0.4, A 3 ms, D 1.2 s; Initial Touch LEVEL 4.
- Voice and glide: polyphonic, Portamento 0.
- Effects: quarter-note ping-pong Delay (Dry/Wet 20%) → Reverb (4.5 s, Dry/Wet 35%).
Ribbon Lead
Lead · Progressive rock and AOR
Singing monophonic lead, with glissandi on the ribbon and vibrato controlled by pressure.
- Oscillators: Channel I Saw ON, Feet Default; Channel II Pulse ON with PW 0.7, Feet +1 octave; DETUNE +3 cents.
- Mixer: Channel I LEVEL 8, Channel II LEVEL 5.
- Filter: Channel I HPF 60 Hz, LPF 1.5 kHz, RESL 0.2; Channel II LPF 2.5 kHz, RESL 0.1.
- Filter envelope: IL -1, AL +2, A 30 ms, D 600 ms, R 300 ms.
- Amplitude envelope: both channels A 10 ms, D 500 ms, S 9, R 300 ms.
- LFO and modulation: Touch Response After Touch BRILLIANCE 4; Sub Oscillator sine 5.5 Hz with After Touch VCO 0.4.
- Voice and glide: 2-voice UNISON (monophonic), Detune 5%; continuous PORTAMENTO 0.1 s/octave; RIBBON RANGE 5 semitones.
- Effects: dotted eighth-note Delay (Dry/Wet 20%) → plate Reverb (2 s, Dry/Wet 20%).
Billie Jean — Staccato Chords
Keys · Michael Jackson — Billie Jean (1982)
The short, dry chords that answer the groove of Billie Jean. On the original recording they are played on a Yamaha CS-80: Michael Boddicker remembers Michael Jackson playing them in a single take, while Bill Wolfer says he programmed and played them himself, as a hybrid of brass and strings. The bass combines Louis Johnson's electric bass and a Minimoog. Here it is recreated with the CS-80 V.
- Oscillators: Channel I Saw ON and Pulse ON (PW 0.6, PWM 0), Feet Default; Channel II at zero (or a copy of I with DETUNE +3 cents).
- Mixer: Channel I LEVEL 8, Sine wave 0, NOISE 0.
- Filter: HPF 120 Hz, RESH 0; LPF 1.8 kHz, RESL 0.12.
- Filter envelope: IL 0, AL +3, A 2 ms, D 200 ms, R 150 ms: a small flash of brightness on every chord.
- Amplitude envelope: A 2 ms, D 300 ms, S 1, R 150 ms.
- LFO and modulation: Initial Touch BRILLIANCE 4 and LEVEL 4; After Touch at 0; Sub Oscillator at 0.
- Voice and glide: polyphonic, Portamento 0; close-position chords between C3 and C5, very short notes.
- Effects: Chorus/Tremolo OFF; short Reverb (1 s, Dry/Wet 15%); high-pass EQ at 200 Hz.
Chariots of Fire — Theme
Lead · Vangelis — Chariots of Fire (1981)
The broad, almost fanfare-like melody of the Chariots of Fire theme. On the original recording Vangelis plays all the instruments, piano included, with the Yamaha CS-80 as the main synth; here it is recreated with the CS-80 V, over an eighth-note piano arpeggio.
- Oscillators: Channel I Saw ON, Feet Default; Channel II Saw ON, Feet Default, plus Feet +1 octave at a low level in a layer; DETUNE +7 cents.
- Mixer: Channel I LEVEL 8, Channel II LEVEL 7; PAN 0.3.
- Filter: HPF 80 Hz; LPF 2 kHz, RESL 0.1; global BRILLIANCE +0.2.
- Filter envelope: IL -1, AL +4, A 120 ms, D 1.5 s, R 1.2 s.
- Amplitude envelope: A 80 ms, D 2 s, S 8.5, R 1.5 s.
- LFO and modulation: Initial Touch BRILLIANCE 4, After Touch BRILLIANCE 5; Sub Oscillator sine 5.5 Hz with After Touch VCO 0.3 for vibrato once the note is sounding.
- Voice and glide: polyphonic, Portamento 0; melody doubled an octave up over a Piano V arpeggio.
- Effects: light Chorus ON (Depth 0.3) → long Reverb (4.5 s, Dry/Wet 35%).
Thriller — CS-80 Pad Layer
Pad · Michael Jackson — Thriller (1982)
The CS-80 layer of the verse pads of Thriller: on the original recording a Yamaha CS-80 and a Roland Jupiter-8 are layered and spread to opposite sides. Here the CS-80 V covers its side, to be paired with the Jup-8 V Thriller patch.
- Oscillators: Channel I Saw ON, Feet Default; Channel II Pulse ON with PW 0.55 and PWM 2 (LFO sine 0.4 Hz), Feet Default; DETUNE +5 cents.
- Mixer: MIX centered, LEVEL 7 per channel, NOISE 0.
- Filter: HPF 100 Hz; LPF 900 Hz, RESL 0.15 on both channels.
- Filter envelope: IL -1, AL +2, A 400 ms, D 2 s, R 1 s.
- Amplitude envelope: A 200 ms, D 1.5 s, S 8, R 1 s.
- LFO and modulation: After Touch BRILLIANCE 3; Sub Oscillator at 0.
- Voice and glide: polyphonic, Portamento 0; in the mix, all to one side, with the Jup-8 V on the other.
- Effects: Chorus ON (Speed 0.5 Hz, Depth 0.4) → hall Reverb (2.5 s, Dry/Wet 25%).
In genres and records
- Soundtracks and film music: Vangelis considers it the most important synth of his career and uses it from 1977 (Spiral) onward; it is front and center on China, Opera Sauvage, the first three Jon & Vangelis albums and the soundtracks of Chariots of Fire and Blade Runner.
- '70s–'80s pop and soul: on Michael Jackson's Billie Jean the chords are from a CS-80, and the verse pads of Thriller combine a CS-80 and a Jupiter-8; documented users include Stevie Wonder, Paul McCartney, Michael McDonald and Chicago.
- Progressive rock and AOR: Toto, Jethro Tull, Bon Jovi, Loverboy, Geoff Downes (Yes, Asia), Rick Wakeman, Tony Banks (Genesis), Eddie Jobson. Expressive brass and leads.
- New wave and European electronic: Ultravox, Simple Minds, Kraftwerk, Jean-Michel Jarre, Brian Eno, BBC Radiophonic Workshop.
- Modern electronic: Daft Punk and The Crystal Method among the users.
- Synthwave, retrofuturism, cyberpunk: Blade Runner-style brass and pads are a reference point of the genre.
- Ambient, new age, drone: long pads and swells with envelopes in Long mode.
- Neo-soul, modern jazz, instrumental hip hop: warm pads and expressive leads with aftertouch.
- Sound design for video games and trailers: ring modulator, linear ribbon, swells.