USER MANUAL_ROTARY CLS-222

Special Thanks
DIRECTION
Frédéric Brun

Kevin Molcard

PROJECT MANAGEMENT
Marius Lasfargue

Samuel Limier

PRODUCT MANAGEMENT
Callum Magill (lead)

Clément Bastiat

Martin Dutasta

DIGITAL SIGNAL PROCESSING
Rasmus Kürstein (lead)

Marc Antigny

Andrea Coppola

Geoffrey Gormond

Loris De Marco

Kevin Arcas

Mauro De Bari

Rasmus Kürstein

DSP libraries:

Yann Bourdin

Alessandro De Cecco

Marius Lasfargue

Samuel Limier (lead)

Hugo Caracalla

Loris De Marco

Fanny Roche

Yann Burrer (lead)

Alexandre Adam

Raynald Dantigny

Fabien Meyrat

Melchior Maj

Stéphane Albanese

Pascal Douillard

Mathieu NocentiCorentin Comte

Pauline Alexandre

Samuel LemaireMarie PauliPatrick Perea

Baptiste Aubry

Cyril Lépinette

Patrick Perea

SW libraries:

Yann Burrer

Christophe Luong

Pierre-Lin Laneyrie (lead)

Corentin Comte

Pierre Mazurier

Maxence Berthiot (lead)

Clément Bastiat

Morgan Perrier

Callum Magill

Ulf Ekelöf

SOFTWARE

DESIGN

SOUND DESIGN
Jean-Michel Blanchet(lead)QUALITY ASSURANCE
Bastien Hervieux (lead)

Germain Marzin

Roger Schumann

Enrique Vela

Arnaud Barbier

Aurélien Mortha

Adrien Soyer

Julien Viannenc

Matthieu Bosshardt

Nicolas Naudin

Nicolas Stermann

Stephen FortnerÁngel Domínguez

Charlotte Métais

Jimmy Michon

Minoru Koike

Holger Steinbrink

MANUAL

IN-APP TUTORIAL
Gustavo Bravetti

BETA TESTING
Marco Correia

Ivar

Gary Morgan

Fernando Manuel Rodrigues

Kirke Godfrey

Andrew Macaulay

Paolo Negri

George WareMat Herbert

Terry MarsdenDavide Puxeddu

Chuck Zwicky© ARTURIA SA – 2023 – All rights reserved.
26 avenue Jean Kuntzmann
38330 Montbonnot-Saint-Martin
FRANCEwww.arturia.com
Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual isprovided 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 thismanual may be reproduced or transmitted in any form or by any purpose other thanpurchaser’s personal use, without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are trademarks orregistered trademarks of their respective owners.
Product version: 1.0.0

Revision date: 17 July 2023

Special Messages
This manual covers how to use Rotary CLS-222, provides a comprehensive look at its
features, and details how to download and activate it. First, some important 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 noticeor 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.

EPILEPSY WARNING – Please Read Before Using Rotary CLS-222
Some people are susceptible to epileptic seizures or loss of consciousness when exposedto certain flashing lights or light patterns in everyday life. This may happen even if theperson has no medical history of epilepsy or has never had any epileptic seizures. If youor anyone in your family has ever had symptoms related to epilepsy (seizures or lossof consciousness) when exposed to flashing lights, consult your doctor prior to using thissoftware.
Discontinue use and consult your doctor immediately if you experience any of the following
symptoms while using this software: dizziness, blurred vision, eye or muscle twitches, lossof consciousness, disorientation, or any involuntary movement or convulsion.

Precautions to Take During Use•

Do not stand too close to the screen.

•

Sit a good distance away from the screen.

•

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

•

Make sure that the room is well lit.

•

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

Congratulations on your purchase of Rotary
CLS-222!
Excellence is placed at the heart of every Arturia product, and Rotary CLS-222 is no
exception. We are thrilled to bring you this accurate, precise, and enhanced emulation ofwhat many musicians consider to be the best analog rotary speaker simulator ever made.
Explore the presets, tweak a few controls, get lost in the features - dive as deeply as you like.
Be sure to visit the www.arturia.com website for information on all our other inspiringhardware and software instruments, effects, MIDI controllers, and more. They have become
indispensable tools for many visionary artists around the globe.
Musically yours,
The Arturia teamTable Of Contents
1. WELCOME TO ROTARY CLS-222! ....................................................................................................................... 3
1.1. What’s the big deal about rotary speakers? ....................................................................................................... 4

1.1.1. How does a rotary speaker work? ..................................................................................................................................................................... 4

1.2. Why is the Dynacord CLS-222 special? ................................................................................................................ 5
1.3. Why model the CLS-222? ............................................................................................................................................... 6
1.3.1. Feature summary ......................................................................................................................................................................................................... 6

2. Activation and Getting Started............................................................................................................................. 7

2.1. Compatibility ............................................................................................................................................................................ 7
2.2. Download and Install ........................................................................................................................................................ 7
2.2.1. Arturia Software Center (ASC)............................................................................................................................................................................. 7

2.3. Working with Rotary CLS-222 as a plug-in......................................................................................................... 8
2.3.1. Audio and MIDI sittings ........................................................................................................................................................................................... 8

3. MAIN PANEL.................................................................................................................................................................... 93.1. Common behaviors ............................................................................................................................................................. 9
3.1.1. Value pop-ups .................................................................................................................................................................................................................. 9
3.1.2. Parameter descriptions......................................................................................................................................................................................... 10
3.1.3. Fine tuning ..................................................................................................................................................................................................................... 10
3.1.4. Double-click for default ......................................................................................................................................................................................... 10

3.2. Pre-Amp................................................................................................................................................................................... 10
3.2.1. Type....................................................................................................................................................................................................................................... 11
3.2.2. Drive..................................................................................................................................................................................................................................... 11

3.3. Rotary Effect.......................................................................................................................................................................... 123.3.1. Effect On/Off................................................................................................................................................................................................................. 12
3.3.2. Rotor Balance .............................................................................................................................................................................................................. 123.3.3. Stereo Image............................................................................................................................................................................................................... 13

3.4. Speed Control ....................................................................................................................................................................... 14
3.5. Output ........................................................................................................................................................................................ 15

4. ADVANCED PANEL...................................................................................................................................................... 16
4.1. Input.............................................................................................................................................................................................. 174.2. Global Speed .......................................................................................................................................................................... 17

4.2.1. Bass and Treble knobs............................................................................................................................................................................................ 18
4.2.2. Tempo sync................................................................................................................................................................................................................... 18
4.2.3. Treble Ratio.................................................................................................................................................................................................................... 19

4.3. Distance .................................................................................................................................................................................. 20
4.3.1. Bass and Treble knobs.......................................................................................................................................................................................... 20
4.3.2. Trajectory Shape ..................................................................................................................................................................................................... 20
4.3.3. Relationship between distance and stereo image ............................................................................................................................. 21

4.4. The Visualizer....................................................................................................................................................................... 22
4.4.1. Phase................................................................................................................................................................................................................................. 224.5. Mix ............................................................................................................................................................................................... 25
4.5.1. Mix Lock........................................................................................................................................................................................................................... 25

5. The Toolbars ................................................................................................................................................................. 26
5.1. Upper Toolbar........................................................................................................................................................................ 27

5.1.1. Main Menu........................................................................................................................................................................................................................ 27
5.1.2. Preset Browser access and Name Pane .................................................................................................................................................... 31
5.1.3. Dual settings and copy........................................................................................................................................................................................... 31
5.1.4. Advanced Button........................................................................................................................................................................................................ 32

5.2. Lower Toolbar...................................................................................................................................................................... 32
5.2.1. Parameter Descriptions ........................................................................................................................................................................................ 32
5.2.2. Undo, Redo, and History...................................................................................................................................................................................... 33
5.2.3. CPU Meter ..................................................................................................................................................................................................................... 34
5.2.4. Resize handle.............................................................................................................................................................................................................. 35

6. Selecting Presets ....................................................................................................................................................... 36

6.1. Preset Name Pane ............................................................................................................................................................. 36
6.1.1. The Arrows...................................................................................................................................................................................................................... 36
6.1.2. Quick Browser .............................................................................................................................................................................................................. 37

6.2. The Preset Browser.......................................................................................................................................................... 39
6.3. Searching Presets ............................................................................................................................................................. 39
6.3.1. Using Tags as a Filter ............................................................................................................................................................................................ 40
6.3.2. Banks................................................................................................................................................................................................................................ 42

6.4. The Results Pane ............................................................................................................................................................... 42
6.4.1. Sorting Presets ............................................................................................................................................................................................................ 43
6.4.2. Liking Presets.............................................................................................................................................................................................................. 43
6.4.3. Featured factory Presets..................................................................................................................................................................................... 43
6.4.4. Shuffle Button ............................................................................................................................................................................................................. 44

6.5. Preset Info Section ........................................................................................................................................................... 44
6.5.1. Preset Info Quick Menu......................................................................................................................................................................................... 45
6.5.2. Edit Style ........................................................................................................................................................................................................................ 45
6.5.3. Editing Info for Multiple Presets ..................................................................................................................................................................... 46

7. Software License Agreement ............................................................................................................................ 47

1. WELCOME TO ROTARY CLS-222!

Thank you for purchasing Arturia Rotary CLS-222. This audio effect plug-in for AAX, Audio
Units, VST2, and VST3 formats is a precise and painstaking model of the legendary
Dynacord CLS-222 rotary speaker simulator. The CLS-222 is an analog emulation of themost popular type of dual-rotor loudspeaker that was usually paired with drawbar organs.
Though a product of the 1980s, it is considered an excellent and highly realistic rotary
simulation even by today’s standards — so much that German manufacturer Dynacord
produced and sold it through 2003.
Units in good working condition are now vigorously hunted on the used market, as someplayers find the CLS-222 has an “X factor” they prefer even over today’s best rotary effectpedals and software effects. Some even consider it the best rotary simulator ever created,period. We obsessed over every detail of the sound and behavior of the original to bring you
this plug-in.

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Arturia - User Manual Rotary CLS-222 - WELCOME TO ROTARY CLS-222!

1.1. What’s the big deal about rotary speakers?

A rotary speaker in a clear Plexiglass
cabinet for easy viewing of the parts.
Image: Hustvedt via Wikimedia
Commons.
The rotary speaker is one of the most recognized and imitated effects in music. Don Leslie,a radio engineer and organist, sought the sense of sound coming from all directions that is
produced by a pipe organ, only in his living room. He reasoned that by directing speakers
through a rotating horn (treble) and drum with a baffle (bass), the sound would literally bethrown all around the room and its reflections bounced back at the listener. He released his
first commercial model in 1941. Tonewheel organ inventor Laurens Hammond infamously
felt disdain towards Mr. Leslie’s product, so it’s ironic that the two men’s creations would
become inseparable in pop culture.
The rotary speaker sounded nothing like a pipe organ, but it had a sound all its own thatcaught the ears of jazz, Gospel, and rock keyboardists, not to mention guitarists who liked
the trippy modulation it lent to their tone. To this day, even a mediocre organ sample isbrought to life by a good rotary simulation, and even the most accurate modeled organ
sound is ruined by a bad one.

1.1.1. How does a rotary speaker work?
In the most popular type of rotary speaker, the organ is first amplified by a power amp
at the base of the cabinet. Bass and treble cross over at 800Hz. The treble goes to acompression tweeter mounted facing upward and firing into the base of a rotating horn,which redirects the sound sideways. This horn looks like a symmetrical “bow tie” butonly one side carries sound; the other is closed and acts as a counterbalance so that theassembly rotates smoothly. Bass goes through a woofer facing downward into a spinning
drum with a side-facing baffle.
The horn and drum turn in opposite directions and are driven by electric motors. Early
rotary speakers had a single speed, then two speeds became the standard: slow to create
spaciousness and fast to mimic the “tremulant” found on pipe organs.

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1.2. Why is the Dynacord CLS-222 special?

The front panel of the CLS-222 was very simple.
The rotary speaker is extremely difficult to emulate electronically and the CLS-222 did it
so well. When you think about it, a spinning speaker is a low-tech concept, but it produces
a highly complex acoustic phenomenon. This includes tremolo (repeating variations involume) because the openings in the horn and drum are moving towards and away fromyou, as well as subtle vibrato (repeating variations in pitch) thanks to the Doppler effect —the same reason that a fire truck’s siren seems to fall in pitch as the vehicle passes by. But,
from wherever the listener is in the room, there’s a left-to-right component of the rotation, i.e.
something like stereo panning. Then, there’s the interplay of the direct and reflected sound,which includes phase-shifting that varies the harmonic content of the signal.
In other words, there’s a lot going on!
Reproducing this accurately by electronic means and through stationary speakers is nosmall feat. But, like the tonewheel organ, a real rotary speaker is heavy and bulky, so asolid emulation was (and still is) a Holy Grail for gigging keyboardists. Many earlier portable“clonewheel“ organs offered built-in rotary simulations, and most sounded cheesy and thin,
without any real sense of sound moving in a circle.

Speed controls were recessed on the rear panel and both XLR and 1/4-inch
outputs were provided.
But Dynacord absolutely nailed it — using the all-analog integrated circuits of the 1980s,
no less. Interestingly, it started much like the rotary speaker itself: as a DIY project. Like
Don Leslie, its designer simply wanted to capture a certain sound. After he had a working
prototype, he found himself playing in a cover band with a representative of Dynacord, andthe rest is history!
The first model was the CLS-22 and appeared in 1982. The better-known CLS-222 followed
in 1988, and was identical except for adding an extra position to the stereo spread (“Basis”)
knob. The CLS-222 was expensive — £700 in ’80s money — but Dynacord sold every unit
they could make. Speeds could be toggled using a foot switch, and the build quality was as
exceptional as the sound.

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Arturia - User Manual Rotary CLS-222 - WELCOME TO ROTARY CLS-222!

1.3. Why model the CLS-222?
Why did we emulate an emulation? Because, as with the other plug-ins of our FX Collection,
we feel that sound explorers everywhere should have access to this historic and important
effect. Many of the IC microchips used in the original are long discontinued, making
hardware units in good condition expensive and rare.
Drawing on our legacy of TAE® (True Analog Emulation), we paid Rotary CLS-222 the same
degree of attention to detail that the designer of the original CLS paid to the physical rotary
speaker.
The rotary simulations built into today’s better hardware organ clones and virtual
instruments are good, and some are excellent. But who knows — one listen to Rotary
CLS-222 and you may prefer it!

1.3.1. Feature summary•

Pre-Amp: Selectable op-amp (from original CLS-222) or valve (vacuum tube) withadjustable Drive•

Rotor Balance: Adjusts the mix of the bass and treble rotors relative to each other•

Dry Bass button (in lower toolbar) bypasses the bass rotor for a “straight” low
end•

Stereo Image: Determines the width of the stereo spread; variable from mono tobeyond super stereo•

Speed Control: Fast, slow, and stop positions•

High-pass filter: Rolls off bass frequencies upstream of pre-amp gain•

Global Speed adjustment: Separate for bass and treble rotors•

Tempo sync: Speed can free-run or sync to host tempo, including dotted andtriplet feels; treble horn rate can also sync as a ratio of bass rotor speed•

Distance: Bass and treble rotors can be separately adjusted to move in a smalleror larger trajectory — something that would be impossible with a real rotary
speaker! It can also go between clockwise and anticlockwise.

•

Visualizer: Graphical representation of the trajectory, speed, rotor balance,
distance, and stereo spread of bass and treble rotors•

Preset library: Musically useful presets from one of our best sound designers ina searchable browser interface•

History: Undo, redo, and go directly to any edit or control change you have made•Tutorials: Interactive tour of all features and controls of Rotary CLS-222

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6

2. ACTIVATION AND GETTING STARTED
2.1. Compatibility
Rotary CLS-222 works on computers and laptops equipped with Windows 8.1 or later ormacOS 10.13 or later. It is compatible with the current generation of Apple M1 and M2, M1 andM2 Pro/Max/Ultra, and other Apple Silicon processors. You can use it as an Audio Unit, AAX,
VST2, or VST3 plug-in within your favorite recording software, or as a standalone effect.

2.2. Download and Install
You can download Rotary CLS-222 directly from the Arturia Products Page by clicking either
the Buy Now or Get Free Demo options. The free demo is limited to 20 minutes of operation.
If you have not already done so, now is a good time to create an Arturia account by
following the instructions on the My Arturia webpage.
Once you install Rotary CLS-222, the next step is to register the software. This is a simple
process that involves a different software program, the Arturia Software Center.

2.2.1. Arturia Software Center (ASC)If you haven't installed ASC yet, please go to this web page: Arturia Downloads & Manuals.
Look for Arturia Software Center near the top of the page, and then download the installer
version for the system you’re using (Windows or macOS). ASC is a remote client for your
Arturia account, letting you conveniently manage all your licenses, downloads, and updates
from one place.

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Arturia - User Manual Rotary CLS-222 - Activation and Getting Started

After you complete the installation, do the following:•

Launch the Arturia Software Center (ASC).

•Log into your Arturia account from ASC’s interface.

•

Scroll down to the ‘My Products’ section of ASC.

•

Click on the ‘Activate’ button next to the software you want to start using (in thiscase, Rotary CLS-222).

It's as simple as that!

2.3. Working with Rotary CLS-222 as a plug-in
Rotary CLS-222 can be used as a plug-in within all major Digital Audio Workstation (DAW)
programs including Cubase, Digital Performer, Live, Logic, Pro Tools, Reaper, Studio One,and more.
Plug-ins have numerous advantages over hardware, including:•

You can use as many instances on different tracks as your computer can handle.

•

You can automate the plug-in’s settings via your DAW’s automation feature.

•

All settings and changes are saved with your DAW project, letting you pick upright where you left off.

2.3.1. Audio and MIDI sittings
Since Rotary CLS-222 is a plug-in, settings for audio and MIDI routing are handled in yourrecording software or DAW. They are generally located in some type of Preferences menu,
though each product does things a bit differently. So, consult your recording software’s
documentation for information on how to select your audio interface, activate outputs, set
the sample rate, assign MIDI ports, set project tempo, adjust buffer size, and the like.
Now that you've set up your software, it’s time to get rotating!

“You spin me right ’round baby, right ’round, like a record, baby ...” — Dead or Alive

Arturia - User Manual Rotary CLS-222 - Activation and Getting Started

83. MAIN PANELThe Main Panel duplicates the functions found on the front panel of the Dynacord CLS-222
and adds a couple of twists of our own, namely a choice of preamp type and an overall
output level control. The Advanced Panel [p.16] adds even more functions, and we’ll cover itin the next chapter.
The Main Panel is divided into four areas:
NumberArea

Description

1.

Pre-Amp [p.10]

Sets the input level and lets you choose the preamp type2.

Rotary Effect [p.12]

3.
4.

Speed

Control[p.14]
Output [p.15]

Adjusts the bass-treble rotor balance and stereo spread of the rotary
simulation
Toggles the simulation between fast, slow, and stop
Sets the output level of the processed signal

3.1. Common behaviors
All Arturia FX Collection plug-ins share some common control behaviors to make editing
sounds easier. (This applies to controls in the Advanced Panel [p.16] as well.)

3.1.1. Value pop-ups

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

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3.1.2. Parameter descriptions

Operating or hovering on any control also displays its name and a brief description of its
function in the left corner of the lower toolbar [p.32].

3.1.3. Fine tuning
Hold the right mouse button or Control key while dragging on any knob to adjust it more
slowly. This helps when you want to dial in precise values. If your mouse is equipped witha wheel, you can hold the Control key (Windows) or Command key (macOS) and use thewheel to fine-tune as well.

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

3.2. Pre-Amp

The Pre-Amp section controls the input level of the signal that then drives the rest of the
CLS-222 effect.

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3.2.1. TypeThe original hardware used an op-amp for the input preamp. We’ve added the option of avalve (vacuum tube) model. You can select between them with this toggle switch.
Op-Amp: Chooses a model of the original op-amp from the Dynacord CLS-222.
Valve: Chooses a carefully crafted analog tube preamp.



The Op-Amp setting goes into hard clipping more readily as you increase the Drive. The Valve setting

moves more progressively into distortion and sounds more round at low to moderate Drive. At highDrive settings, the two sound quite similar.

3.2.2. Drive

This knob simply sets the input gain level. On the original hardware, it was never intended
to produce overdrive or distortion but only to pass as much hot, clean signal as possible to
the rest of the signal path. In our version, both the Valve and Op-Amp models are capableof some overdrive at higher settings. The Peak light illuminates to indicate clipping when
the Pre-Amp Type is set to Op-Amp. When set to Valve, “glow” coming from the top of thechassis provides visual feedback as you increase Drive.

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3.3. Rotary EffectThis area mainly controls the rotor balance and stereo spread of the virtual rotors. Whatabout adjusting the fast and slow speed of each rotor? On the hardware, this was done byrecessed pots on the rear panel because Dynacord assumed rotor speed was something
most users would “set and forget.” In Rotary CLS-222, speed adjustment knobs are on the
Advanced Panel [p.17].

3.3.1. Effect On/Off
When turned off, this toggle bypasses the rotary effect but preserves the sonic characterof the CLS-222 preamp and analog circuitry. To reinforce this, inactive sections of the Main
Panel become greyed-out, like so:

3.3.2. Rotor Balance
Turn this bipolar knob counter-clockwise to hear more of the bass rotor and less of the treble.
Turn it clockwise to hear more treble rotor and less bass.

♪ The original hardware had a bass-forward rotor balance, set at 50/50. Rotary CLS-222 preserves

this, but the factory default setting is 20 percent bass rotor and 80 percent treble rotor. Relative tothe hardware, this actually provides a reference point that is flatter. Rotary CLS-222 is also loudnesscompensated so that, unlike the hardware, adjusting the rotor balance will not cause large differencesin overall loudness.

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3.3.3. Stereo Image
The CLS-222 could vary the stereo spread of the effect, corresponding to how far apartstereo microphones to either side of a rotary speaker would be panned. The hardware
offered four options:
Mono: No stereo, as if mics were panned dead center.
Stereo 1: Panning at approximately 35 percent.
Stereo 2: Panning at approximately 65 percent.
Super Stereo: Panning at approximately 90 percent.
On the original hardware, this control was called Basis and was a four-position switch(the CLS-22 had three positions: Mono, Stereo, and Super Stereo). In Rotary CLS-222, it’scontinuously variable.

The CLS-222 hardware’s stereo image
knob was a four-position switch. Arturia’s
is continuous.
On the hardware, the Super Stereo position created less than a “hard-panned” stereo spreadeven though it was supposed to be 100 percent. Rotary CLS-222 preserves this characterbut also lets you turn the knob past Super Stereo. Fully clockwise, a value of 120 percent
is equivalent to hard panning. In other words, “100 percent” means what it meant on the
hardware and “120 percent” means full panning in a DAW or mixer.

3.3.3.1. Mono versus stereo operation
The original CLS-222 was intended to turn a mono input into a stereo output to achieve
the best rotary effect, though it offered a mono output as well. Rotary CLS-222 relatesmono to stereo in different ways depending on the type of track you place it on and which
configuration of the plug-in you select.
Mono audio or virtual instrument track: Your DAW plug-in menu should show two options for
Rotary CLS-222: mono and mono-to-stereo. If you select mono, Rotary CLS-222 will return amonaural signal and the Stereo Image knob becomes unavailable.

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Arturia - User Manual Rotary CLS-222 - MAIN PANEL

The Rotary Effect section of CLS-222 when used as amono or dual mono plug-in
Stereo audio or virtual instrument track: Your DAW plug-in menu should show stereo
and dual mono options. Dual mono means that both channels of an incoming signal areprocessed as separate monaural signals, and again, the Stereo Image knob is unavailable
as above.
When used as a stereo or mono-to-stereo plug-in, Rotary CLS-222 offers a Mono Input [p.33]
button in the lower toolbar [p.32], which sums the portion of the signal processed throughthe plug-in to monaural. The dry portion of the signal remains untouched.

3.4. Speed Control

This simple switch toggles the rotary effect between slow and fast speeds. There is also astop option, which halts the rotors but preserves everything else about the effect. Two LEDs
pulse in sync with the rotor speeds: yellow for treble and red for bass.

♪ At the slow setting, the rotor speeds correspond to the LFO settings of the Global Speed [p.17]

controls on the Advanced Panel. Set to fast, they are ten times that value in free-running mode and eighttimes as fast if synced to tempo [p.18].

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14

♪ Also, when free-running, the transition time of the virtual rotors from slow to fast, or fast to

slow, mimics the behavior of the original CLS-222 hardware. When tempo-sync, the transition is nearinstantaneous.

3.5. Output

Turn this knob to adjust the output level of the effect back into your DAW track. This can be
useful for getting the track level just right without needing to adjust a fader you may havealready automated.
Next up, we will look at the deeper settings in the Advanced Panel [p.16].

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4. ADVANCED PANEL

Clicking the Advanced button at the right of the upper toolbar opens the Advanced Panel,
which is home to the rotor speed adjustments found on the rear panel of the original
hardware.
Beyond that, the plug-in adds an input high-pass filter, tempo sync and phase offset options
for the virtual rotors, Distance settings that actually change the size shape of the rotors’
trajectory (more about that later), and a dry/wet mix control that can be locked to a set
value across Preset [p.36] changes.
Then, the cool Visualizer [p.22] provides graphic feedback about the state of the virtual rotors.

The Advanced Panel of Rotary CLS-222
The Advanced Panel contains five sections as follows:
NumberSectionDescription

1.

Input [p.17]

Applies a high-pass filter to the signal

GlobalAdjusts speeds of the bass and treble rotors independently; sets tempo sync

2.
3.
4.
5.

Speed

[p.17]

options

Distance [p.20]

Changes the size and direction of the physical trajectory of the rotors

Visualizer

Gives visual feedback on rotor panning, distance, and rotor balance; sets rotor[p.22]

phase options

Mix [p.25]

Adjusts the balance of dry and processed signals

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4.1. Input

The sole knob in this section, HPF, applies a high-pass filter (a.k.a. low cut) to the incoming
signal and is actually first in the signal chain, upstream of the Pre-Amp [p.10]. The filter
is open (off) at the zero knob position, then its cutoff frequency ranges from 20Hz to
20,000Hz as the knob is turned clockwise.

♪ The original CLS-222 hardware employed multiple non-adjustable high-pass filters because rotary

speaker cabinets tend to emphasize bass frequencies. Rotary CLS-222 gives you control over thesefilters. The default position, which you can set by double-clicking the knob, is 40Hz. This matches theoriginal hardware. You can disengage the filter altogether for richer bass, or raise the cutoff for a thinnersound. Set it too high, and you won’t hear anything — unless you’re a dog!

4.2. Global Speed

This section adjusts the speed of the bass and treble rotors, corresponding to the recessed
control pots on the rear panel of the hardware CLS-222. There, the range of adjustment was
somewhat limited. In Rotary CLS-222 it has been extended quite a lot.

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4.2.1. Bass and Treble knobs
You can adjust the speed of the bass and treble rotors independently. The pop-up values you
see will be in Hz if the rotors are free-running, or expressed as a division or multiplication ofyour host tempo when CLS-222 is synced to tempo [p.18], like so:

Rotor speed with CLS-222 freerunning

Rotor speed with CLS-222 temposynced

4.2.1.1. Relationship to fast and slow speeds
The values displayed when you turn the Bass or Treble Global Speed knobs show therotation rate when the Speed Control [p.14] is set to Slow. When switched to Fast, the rates
are:



•

Free-running: 10 times the pop-up value•

Tempo-synced: 8 times the pop-up value♪ The 10x factor matches the original hardware. For tempo-synced modes, we chose the factor of

8x to keep everything in sync rhythmically.

4.2.2. Tempo sync

Rotary CLS-222’s virtual rotors may free-run in Hertz or be synced to your project tempo as
set in your DAW or other host software. Flip the toggle switch to choose one or the other.
Ratios range from 8 to 1/8 times the duration of a musical bar in your project.

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4.2.2.1. Tempo sync options
Click on Sync Mode to display the following menu:

Select a mode to close the menu box.
•

Sync: Tempo is synced “straight” with no swing feel; a quarter-note = two eighthnotes.

•

Sync Triplets: Tempo is synced with a triplet feel; a quarter-note = three eightnotes played in the space of two.

•

Sync Dotted: Tempo is synced with a dotted feel; a quarter-note = a dotted eighthnote followed by a sixteenth-note.

•

All Sync: Straight, triplet, and dotted ratios are all present serially when you turneither knob.

4.2.3. Treble Ratio

In both free-running and tempo-synced modes, engaging this toggle switch makes the
speed of the treble rotor a ratio of the speed of the bass rotor. The range is from 4:1 to 1:4.

♪ Tempo sync and ratio options offer creative possibilities for tying CLS-222’s modulation to therhythm of your song. But from a realism standpoint, it’s important to remember that neither the original
CLS-222 nor the rotary speaker it emulated had any such capabilities.

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4.3. Distance

The Distance parameters change the size and shape of the trajectory of the bass and treble
rotors independently. On many plug-ins, a “distance” setting usually varies the distanceof virtual mics from the source, but something a bit different is happening in Rotary
CLS-222. The Distance settings modulate both volume and filtering to give the all-important
impression of the sound being closer or farther from the listener depending on the positionof the virtual rotors.
By trajectory, we mean the size and shape of the pathway in which the rotor moves. Thisaffects how far away the sound seems when the rotor is pointed 180 degrees away fromyou, how close it seems when the rotor is pointed right at you, and how far it seems to travel
in between. If you think of the basic rotary effect as the earth spinning on its axis, Distancecan be likened to the earth’s orbit around the sun.

4.3.1. Bass and Treble knobs
Turn either knob to change the size of the trajectory of the corresponding rotor.

♪ Since these are bipolar knobs, turning a knob counter-clockwise from zero and the other clockwisefrom zero will imitate the bass and treble rotors spinning in opposite directions — which is the way a
vintage rotary speaker works.

4.3.2. Trajectory Shape

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20

Rotary CLS-222 lets you adjust the shape of the rotors’s path as well as the size, which
would be difficult if not impossible using a physical rotary device. Use this three-position
switch to select a shape.
•

Circle: Rotors move in a simple circle as with a vintage rotary speaker•

Horizontal 8: Rotors move in a horizontal figure-8 pattern•

Comb: Rotors move in a dual horizontal figure-8, each making four “loops”

4.3.3. Relationship between distance and stereo image
The controls in the Distance section interact with the Stereo Image [p.13] knobs on the Main
Panel. This allows for a wide variety of shapes and sizes of trajectories.

The above diagram illustrates the rotor trajectories at four pairs of extreme settings:•

Violet: Mono, zero distance•

Blue: Maximum stereo, zero distance•Green: Mono, maximum distance•Black: Maximum stereo, maximum distanceIntermediate settings will produce trajectories of varying shapes and sizes. We’re using
the Circle shape to keep the illustrations simple, but the above principles also apply to the
Horizontal 8 and Comb shapes.

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4.4. The Visualizer

The Visualizer in Rotary
CLS-222In the center of the Advanced Panel is a Visualizer, which gives animated graphicalfeedback about how the rotors are moving as well as their mix balance. It displays twomoving dots.
•

Red: Bass rotor•

Yellow: Treble rotor

The dots move in trajectories according to the Stereo Image and Distance settings for eachrotor, tracing pathways like those in the diagram [p.21] above. Hold some notes, move theStereo Image and Distance knobs for either rotor, and watch the dots’ movement change.
How fast they move is a factor of the Slow/Fast selection and Global Speed settings.
The brightness of the dots represents rotor balance, with a brighter dot indicating that thecorresponding rotor is louder and a dimmer one indicating it is softer.

4.4.1. Phase

Rotary CLS-222 is enhanced with the ability to change the phase relationship between thetwo rotors, i.e. how they move in relation to one another. Click at the bottom left of the
Visualizer to bring up this menu:

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22

•Aligned (0°): The two rotors begin moving in perfect phase with one another, i.e.
at the same spot in the trajectory.

•

Chasing (90°): The bass rotor follows behind the treble.

•

Opposite (180°): The two rotors begin moving perfectly out of phase with one
another, i.e. at oppostie ends of the trajectory.

•

Chased (270°): The treble rotor follows behind the bass.

Changing these settings has a subtle but definitely perceptible effect on the rotation, and thehigher the Stereo Image and Distance controls are set, the more you will hear it.

4.4.1.1. Phase Reset
The Reset button restarts the rotation cycle at the beginning of each rotor’s phase. Where’s
the beginning? That depends. With phase set to Aligned, for example, both rotors right would
be panned in the center in terms of stereo and closest to you in terms of Distance. Set to
Chasing, the phase would start with the bass rotor centered and closest and the treble offset
by 90 degrees along its pathway.

4.4.1.2. Understanding rotor phase
Let’s illustrate the phase start points using the same diagram idea as before. We’ll assume
a circular trajectory to keep the diagrams simple, but the same ideas apply to the Horizontal
8 and Comb trajectory shapes as well. First, Aligned and Chasing:Bass behind treble in the rotation
path

23

Arturia - User Manual Rotary CLS-222 - ADVANCED PANELNow, Opposite and Chased:

Bass and treble rotors 180
degrees out of phase

Treble behind bass in the rotation
path

Remember that these are only the starting points that would be set by a phase reset.
CLS-222 is always in motion (unless you select Stop in the Speed Control), and the best
way to relate what you hear to imaginary rotor positions is to watch the Visualizer as you
experiment with the Distance and Global Speed settings.

4.4.1.3. More about the Visualizer

If you see a single orange dot as above, that means the bass and treble rotors are in
the exact same spot along the trajectory. You can set the Speed Control [p.14] to Stop to
watch this happen. Also, anytime you hover the mouse over the Visualizer, an on/off toggle
appears in its upper right corner. This does not affect the sound; it just turns off the visual
animations.

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4.5. Mix

The last stop on the Advanced Panel is a simple dry/wet mix knob. For organists, a rotary
speaker is the only thing amplifying their instrument. The knob should be set all the way
clockwise (wet) to reflect this. Likewise, musicians usually set up the hardware CLS-222
directly inline, not as a send-and-return effect.
However, some organists used a stationary tone cabinet or combo amp alongside a rotary
speaker, and a mix of dry and wet signals would reflect this. These are only the mostcommon use cases — you might use CLS-222 in creative ways never imagined for a rotary
effect!

4.5.1. Mix Lock
Note the padlock icon at the bottom of the Mix section. When it is engaged, the current
dry/wet balance stays the same when you change Presets. This is useful for auditioning
different presets while hearing a consistent amount of the overall effect.

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5. THE TOOLBARSThe toolbars above and below the main control area of Rotary CLS-222 contain a numberof important functions for Preset selection, housekeeping, and other utility settings.
The Upper Toolbar includes:•

The Main Menu [p.27]•

The Preset Name Pane and Preset Browser [p.39]•

Switching and copy options for A and B settings [p.31]•

The button to open the Advanced Panel [p.16]

The Lower Toolbar includes:•

The parameter description area [p.10]•

A Bypass button [p.33]•

The Mono Input button [p.33]•

The Dry Bass [p.33] button•

Undo, Redo, and History [p.33]•

The CPU Meter [p.34] and Panic [p.34] functions•

A corner grab handle [p.35] for resizing the CLS-222 window

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5.1. Upper Toolbar
Let’s start with the Upper Toolbar, covering its functions from left to right.

5.1.1. Main Menu

Clicking the “hamburger” icon (three horizontal lines) in the top left corner of the upper
toolbar opens the Main Menu, a drop-down menu that lets you access a number of usefulfunctions related to Preset management and more.

5.1.1.1. New Preset
Creates a new Default Preset with initialized settings for all parameters.

5.1.1.2. Save Preset
Overwrites the current Preset with any changes you have made. This applies only to userpresets, so this option is greyed out for factory presets.

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5.1.1.3. Save Preset As...
This option saves the current settings of Rotary CLS-222 under a new Preset name. Clicking
this option reveals a window where you can name your Preset and enter more detailed
information about it:♪ The Bank, Author, and Type fields are all useful when searching for Presets in the Preset Browser[p.39].

5.1.1.4. Import...
This command lets you import a Preset file or entire Bank stored on your computer. It opens
a navigation window in your computer's OS to find the proper files.

5.1.1.5. Export...
You can export Presets to your computer in two ways: as a single Preset, or as a Bank. In
either case, an OS-level navigation window lets you specify where to save the file(s). Bothindividual Presets and Banks have the filename extension .CLSX.

•

Export Preset...: Exporting a single Preset is handy for sharing a preset withsomeone else. The saved preset can be reloaded using the Import menu option.

•

Export Bank: This option exports an entire Bank of Presets, which is useful forbacking up or sharing many Presets at once. Saved Banks can be reloaded using
the Import menu option.

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5.1.1.6. Resize Window

Rotary CLS-222 can be resized from 50% to 200% of its default size (100%) 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 canincrease the size to get a better view of the controls and graphics.
You can also perform this operation using keyboard shortcuts: every time you press CTRL(Windows) or CMD- (macOS), the window will shrink by one size increment, and every time
you press CTRL+ (Windows) or CMD+ (macOS), the window will grow by one size increment.
In addition, you can click-drag the resize handle [p.35] at the right of the lower toolbar to
make the CLS-222 window any size.

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5.1.1.7. Tutorials

Rotary CLS-222 comes with interactive tutorials that walk you through different features ofthe plug-in. Clicking this option opens a pane on the right side of the window where thetutorials appear. Select one to access step-by-step descriptions that highlight the relevant
controls and walk you through the process.

5.1.1.8. Help
Get more help by visiting links to this user manual and Frequently Asked Questions pages
on Arturia’s website. You will need an internet connection to access these pages.

5.1.1.9. About
Here you can view the software version and developer credits. Click again anywhere on
the screen (outside the About window but inside the plug-in) to make this pop-up window
disappear.

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5.1.2. Preset Browser access and Name Pane

The Preset Name Pane
Clicking the “books on a shelf“ button opens the Preset Browser [p.39], which offers a myriadof ways to browse, sort, and organize Presets in Rotary CLS-222.

Clicking on the Preset name also opens up quick drop-down menus for selecting Presets
outside of the Browser, as shown above. You can select to look at lists of Presets organized
by Type, as shown above, or look at All Presets at once.
Everything you need to know about managing Presets is covered in detail in the next chapter[p.39]. This includes working with Favorites, which are tagged by clicking the heart icon.



Note: An asterisk just after the name in the Preset Name Pane (*) indicates that you’ve edited that

Preset.

5.1.3. Dual settings and copy

Preset state A active with theoption to copy settings to B

Preset state B active with theoption to copy settings to A

Each Preset is actually two Presets in one! Using the A and B buttons, you can switch
between two completely different sets of knob settings for the Main Panel [p.9], and theAdvanced Panel [p.16]. These are saved within each Preset.
When A is active, clicking A > B will copy the A settings to B. When B is active, clicking A < B
will copy the B settings to A.

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! When you edit settings in a Preset and close your DAW project without saving the Preset, thechanges will be remembered when you reopen it – but they will be recalled in Slot A. That means that
editing settings in Slot B and closing your DAW without saving them will move those settings over toSlot A when you reopen the project — and Slot B will be blank. Save often!

5.1.4. Advanced Button

Near the upper right corner of the top toolbar is the Advanced Button. This opens up a panelof extended controls, which we cover in detail in the Advanced Panel [p.16] chapter.

5.2. Lower Toolbar

Lower toolbar, left side
The Lower Toolbar of the Rotary CLS-222 interface can be thought of in terms of left andright halves. On the left is the Control Description display, and on the right are buttons forseveral useful utility functions.

5.2.1. Parameter Descriptions

This Control Description pops up when you mouse overthe Rotor Balance knob in the Main Panel
Operate or hover on any knob, button, icon, or other control, and a brief description of what
it does appear in the lower left-hand corner.

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5.2.1.1. Bypass

The Bypass, Mono Input, and Dry Bass buttons
The Bypass button bypasses the Rotary CLS-222 plug-in entirely. Among its uses are doing
a quick comparison of dry versus processed signal without having to bypass the plug-in at
the DAW level.

5.2.1.2. Mono Input
To the right of Bypass is the Mono Input button. When Rotary CLS-222 is placed on a stereo
track (audio track or virtual instrument), this button appears. Engaging it will feed the plug-in
a summed mono signal regardless of the panning status of the stereo track in the DAW.
Any dry portion of the sound according to the Mix [p.25] knob will still be in stereo (assuming
a stereo input signal).

5.2.1.3. Dry Bass
When engaged, this button bypasses the bass rotor so that lower frequencies do not passthrough the rotary effect. It preserves the character of the preamp and crossover filters. This
creates a stationary, unmodulated bass sound.

♪ Organists sometimes disconnected power to their bass rotor motors. This is sometimes called

the “Memphis sound.” The technique was also used by jazz musicians who played bass on the organ
pedals, as the dry bass sound was desirable for holding down the groove.

5.2.2. Undo, Redo, and History
When editing a plug-in, it’s all too easy to overshoot the sweet spot for one or more controls,
and then wonder how to get back to where you were. Like all Arturia plug-ins, Rotary
CLS-222 offers comprehensive Undo, Redo, and History functions so that you always havea safe way back.
Use the arrows to go back and forward one control movement at a time.

5.2.2.1. Undo
Click the left arrow to revert to the state before the most recent edit you made. You may
click repeatedly to undo several edits in reverse time order.

5.2.2.2. Redo
Click the right arrow to redo the most recent edit you undid. If you have undone several,
you may click repeatedly to redo them in forward time order.

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5.2.2.3. History

Click the center “hamburger” (three lines) button to open the History window, as shown
above. This provides a step-by-step account of every move you have made in Rotary
CLS-222. Clicking on an item in the list not only re-executes that move — it returns the plug-in
to the overall state it was in when you first made that move.



Note that the A and B controls settings within a Preset have separate Undo Histories.

5.2.3. CPU Meter
At far right is the CPU Meter, which displays the overall load Rotary CLS-222 is placing inyour computer CPU. Since it deals only with this plug-in, it is not a substitute for the resource
metering tools in your DAW.

5.2.3.1. Panic

Mousing over the CPU Meter accesses the
PANIC function
Mouse over the CPU Meter, and it will display the word PANIC. Click to send an all-sounds-off
command that silences any sound processed through Rotary CLS-222. This is a momentarycommand, so sound will resume if your DAW is still playing.
In the event of serious runaway audio (say, from an unrelated delay effect that has gone
into a feedback loop), stop your DAW playback and disable the plug-in causing the problem.

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5.2.4. Resize handle

Grab and drag the diagonal lines to the right of the CPU meter to resize the CLS-222 window.
This lets you get achieve sizes in between increments in the Resize Window [p.29] menu ifthat better suits your screen layout.

5.2.4.1. Max View button

Sometimes, you may see the above button with two diagonal arrows appear over the resize
handle. This happens when, for some reason, the window size is not displaying all of thecontrols of CLS-222. Click it to restore a full view of the open controls.

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6. SELECTING PRESETS

Rotary CLS-222 lets you browse, search, and select Presets from a browser-like interface
inside the plug-in. You can also create and save your own Presets in the User Bank.
Of course, the state of any instance of the plug-in — including the current Preset — isautomatically saved when you save your DAW project, so you can always pick up where
you left off.
First, we will cover Preset functions from the Upper Toolbar in more depth.

6.1. Preset Name Pane

The name pane at top center is always displayed whether you’re in the main controls viewor the Preset Browser. It displays the name of the current Preset, obviously, but also offers
further ways to browse and load Presets. Again, a filled-in heart icon indicates a liked Preset.

6.1.1. The Arrows
The up and down arrows to the right of the Preset name step serially through Presets. Thisis limited by the results of any currently active search, i.e. the arrows will only step throughthose Presets. So, make sure any searches are cleared if you simply want to step throughall available Presets until you find something you like.

Arturia - User Manual Rotary CLS-222 - Selecting Presets366.1.2. Quick Browser
As mentioned briefly in the previous chapter, you can click on the Preset name in the centerof the upper tool bar to bring up a drop-down Quick Browser for Presets. The first option inthis menu is called All Presets, and it brings up a submenu of literally every Preset in thecurrent Bank:

All presets
Below this are options that correspond to the Types [p.40]. Each of these brings up a
submenu of all Presets of its Type:37

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Selecting Modulation from the drop-down menu shows all the Presets ofthis type.
Unlike the up and down arrows, the “All Presets” submenu is independent of search criteria— it simply shows you every Preset available. Likewise for the Type choices below the line,
which always include all Presets within that Type.

Arturia - User Manual Rotary CLS-222 - Selecting Presets386.2. The Preset Browser
Click the “books on a shelf“ icon (four vertical and tilted lines) in the Upper Toolbar to accessthe Preset Browser. When the Preset Browser is open, the icon becomes a large X, and isused to close the Browser when you're done.
The three main areas of the Preset Browser are as follows:

NumberArea

Description

1.

Search [p.39]

Searches for Presets by text entry with filters for Type, Style, and Bank.

2.

Results Pane [p.42]

Displays search results, or all Presets if no search criteria are active.

3.

Preset Info [p.44]

Displays Preset Details; can edit details for Presets in User Bank.

6.3. Searching Presets
Click on the Search field at the top left and enter any search term. The browser will filter
your search in two ways: First, simply by matching letters in the Preset name. Second, If
your search term is close to that of a Type or Style [p.40] it will include results fitting thosetags as well.
The Results Pane will show all Presets that fit your search. Click the CLEAR ALL text to clear
your search terms.

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Filtering by typing the text ("Leslie") in the Search field

6.3.1. Using Tags as a Filter
You can narrow (and sometimes expand) your search using different tags. There are twokinds of tags: Types and Styles. You can filter by one, the other, or both.

6.3.1.1. Types

Types are categories of audio effects: filter, distortion, modulation, and so on. With a clear
search bar, click the Types drop-down to bring up the list of types. Types sometimes
include sub-types (especially in more complex Arturia effect plug-ins) but Rotary CLS-222 isrelatively simple, so Rotator is the primary type you will see.
The display order of the Name and Type columns can be inverted by clicking the arrow
buttons to the right of their titles.

♪ You can specify the type when saving a Preset [p.28]. That Preset will then show up in searches

where you’ve selected that Type.

Arturia - User Manual Rotary CLS-222 - Selecting Presets406.3.1.2. Styles
Styles are, well ... exactly that. Accessed by the Styles button, this area has three further
subdivisions:•

Genres: Identifiable musical genres such as Ambient, Bass Music, Industrial, etc.:•

Styles: General “vibe” such as Bizarre, Metallic, Slammed, etc.:•

Characteristics: Even more detailed audio qualities such as Filtered, Resonant,Mechanical, Noise, and more:

Click any one, and the results will show only Presets that match that tag. Notice that when
you select any tag, several other tags usually grey out and become unavailable. This isbecause the browser is narrowing your search by a process of elimination.

Note that this is the opposite of how selecting multiple Types broadens your search.

Deselect any tag to remove it and widen the search without having to start all over again.
You can also clear the tag by clicking the X to the right of its text, which appears at the top.
Note that you can search by a string of text, Types and Styles, or both, with the search
becoming narrower as you enter more criteria. Clicking CLEAR ALL in the search bar willremove all Type and Style filters as well as any text entry.

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6.3.2. Banks

To the right of the Types and Styles drop-downs is the Banks drop-down, which lets you doyour search (using all the methods above) within the Factory or User Banks.

6.4. The Results Pane

The central area of the browser shows search results, or simply a list of all Presets in the
Bank if no search criteria are active. Simply click on a Preset name to load it.

Arturia - User Manual Rotary CLS-222 - Selecting Presets426.4.1. Sorting Presets
Click the NAME header in first column of the Results list to sort the results list of Presets inascending or descending alphabetical order.
Click the TYPE header in the second column to do the same thing by Type.

6.4.2. Liking Presets
As you explore and create Presets you can mark them as Liked by clicking the heart icon
next to their names. (This icon also appears in the Upper Toolbar's Preset Name Pane [p.36].
Clicking on the heart icon makes all of your liked Presets show up at the top of the results
list, as shown here:

A filled-in heart icon indicates a Liked Preset. An outline indicates a Preset that has not been
Liked (yet). Click the heart at the top of the list again to return the list to its previous state.

6.4.3. Featured factory Presets
Presets accompanied by the Arturia logo are factory creations we think really showcase thecapabilities of Rotary CLS-222.

Clicking the Arturia icon at the top of the Results pane sorts all featured Presets to appear at
the top of the list.

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6.4.4. Shuffle Button

This button randomly reorders the Preset list. Sometimes it can help you find the soundyou’re looking for more quickly than scrolling through the entire list.

6.5. Preset Info Section
The right side of the browser window shows specific information about each Preset.

For Presets in the User bank (as the result of a Save As operation), you can enter and edit
the information in the Preset Info Section and it will update in real time. This includes thedesigner (author), Type, all Style tags, and even a custom text description at the bottom.
To make the desired changes, you can type directly in the text fields or use one of the pulldown menus to change the Bank or Type. As shown here, you can also use a hierarchicalmenu to select the Type or even create a new Type or Subtype.

Arturia - User Manual Rotary CLS-222 - Selecting Presets44♪ Types and Styles changes you make here are reflected in searches. For example, if you remove

the “Bright” Style tag from a Preset and then save that Preset, it will not show up in future searches for
Bright Presets.

6.5.1. Preset Info Quick Menu
Clicking the icon with three vertical dots brings up a quick menu for Save, Save As, andDelete Preset operations:

For sounds in Factory banks, only Save As is available.

6.5.2. Edit Style
You can also create your own Style tags to help refine searches according to criteria thatmatter most to you. Clicking on the + icon in the list in the Preset Info pane opens the Edit
Style pane, where you can create as many new tags as you'll ever need:45

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6.5.3. Editing Info for Multiple Presets
It’s easy to edit information such as Types, Styles, designer name, and text description forseveral presets at the same time. Simply hold CMD (macOS) or CTRL (Windows) and click
the names of the Presets you want to change in the Results list. Then enter the comments,change the Bank or Type, etc., and save.

Arturia - User Manual Rotary CLS-222 - Selecting Presets46

7. SOFTWARE LICENSE AGREEMENT
In consideration of payment of the Licensee fee, which is a portion of the price you paid,
Arturia, as Licensor, grants to you (referred to as 'Licensee' from now on) a non-exclusive
right to use this copy of the Rotary CLS-222 plug-in (referred to as 'SOFTWARE' from nowon).
All intellectual property rights in the software belong to Arturia SA (referred to as 'Arturia'
from now on). Arturia permits you to only copy, download, install and use the software inaccordance with the terms and conditions of this Agreement.
The product contains product activation for protection against unlawful copying. The OEM
software can be used only following registration. Internet access is required for theactivation 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
read the following text carefully in its entirety. If you do not approve of these terms andconditions, you should not install this software and you should proceed to return it back towhere you purchased it immediately or within 30 days at the latest, in return for a refundof the purchase price. Your return must include all written materials, all packaging in an
undamaged state, and the enclosed hardware.
1. Software Ownership Arturia shall retain full and complete title to the SOFTWARE recordedon the enclosed disks and all subsequent copies of the SOFTWARE, regardless of the media
or form in which the original disks or copies may exist. The License is not a sale of theoriginal SOFTWARE.
2. Grant of License Arturia grants you a non-exclusive license for the use of the software
according to the terms and conditions of this Agreement. You may not lease, loan or sublicense the software.
The use of the software within a network where there is a possibility of simultaneous
multiple use of the program, is illegal.
You are entitled to make a backup copy of the software to be used for none other thanstorage purposes.
You do not have a right to use the software further than within the limited rights as specified
in this Agreement. Arturia reserves all rights not expressly granted.
3. Software Activation Arturia may use a compulsory activation of the software and acompulsory registration of the OEM software for license control to protect the software
against unlawful copying. If you do not click to accept the terms and conditions of thisAgreement, the software will not work.
In that case, the product including the software may only be returned within 30 days
following the purchase of the product. Upon return, a claim according to § 11 shall not apply.
4. Support, Upgrades and Updates after Product Registration You can only receive support,
upgrades and updates following your product registration. Support is provided only forthe current version and for the previous version only for one year after publication of thenewer version. Arturia can modify and partly or completely adjust the nature of the support(hotline, forum on the website, etc.), upgrades and updates at any time.
The product registration is possible during the activation process or at any later time via
the Internet. During this process, you will be asked to agree to the storage and use of yourpersonal data (name, address, contact, email address and license data) for the purposes
specified above. Arturia may also forward these data to third parties, in particular its
distributors, for support purposes and for verifying the right to an upgrade or an update.

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Arturia - User Manual Rotary CLS-222 - Software License Agreement

5. Unbundling Prohibited The software typically contains a variety of different files which
ensure the complete functionality of the software in its default configuration. The software
may be used as one product only. It is not required that you use or install all components ofthe software.
You must not arrange components of the software in a new way and develop a modified
version of the software or a new product as a result. The configuration of the software is not
to be modified for the purpose of distribution, assignment or resale.
6. Assignment of Rights You may assign all your rights to use the software to anotherperson only if: (a) you assign to the other person the following: (i) this Agreement, and (ii)the software or hardware provided with the software, subsequently packed or preinstalled,
including all copies, upgrades, updates, backup copies and previous versions, which
granted a right to an update or upgrade on this software, (b) you do not retain upgrades,
updates, backup copies and previous versions of this software, and (c) the recipient accepts
the terms and conditions of this Agreement as well as other regulations according to which
you acquired a valid software license.
A return of the product due to a failure to accept the terms and conditions of this Agreement,
e.g. the product activation, shall not be possible upon this re-assignment of rights.
7. Upgrades and Updates You must have a valid license for a previous or more inferiorversion of the software in order to be allowed to use a software upgrade or update. Upontransferring this previous or more inferior version of the software to third parties, the rightto use the software upgrade or update will not apply.
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 yourpurchase. Any implied warranties on the software are limited to thirty (30) days from thedate 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 andperformance 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 theremainder 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, expressedor implied, including but not limited to the implied warranties of the commercial value andfitness 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.

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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, lossof business information and the like) even if Arturia was previously advised of the possibilityof 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.

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Arturia - User Manual Rotary CLS-222 - Software License Agreement