After the news of some time ago, we are able to give more details about the new suite of synthesizers signed by Arturia. In fact, the largest collection of virtual synths rebuilt with emulation technologies based on physical model synthesis.
La V Collection 5 is not based on samples, therefore, but on proprietary technologies ofArthur which started with the TAE (Tstreet Aaddiction Emulation) kicked off the most interesting virtual reincarnations of many historical synths.
La V Collection 5 (hereinafter referred to as VC5) understands well 16 virtual emulations of as many well-known synthesizers, which cover a lot of sound a analog synthesis, as pertaining to FM, rather than those acoustic o electrophonic. The fact is that with over 5.000 Ready-to-use presets, the user only has to give vent to their compositional ideas.
Another, no less important aspect, I believe, concerns the possibility of exploiting these virtualizations also for educational purposes. The new paths of Music Technologies, present in Italian high schools, as well as private courses that have been preparing new students for years Producer could benefit from this "sound heritage" precisely to make students aware of the evolution that has taken place since the '60 to date thanks to the machines represented inside the VC5. The degree of veracity of the parameters present on the various synths is very high; where Arturia intervened with its know-how, they concern solutions that complete the basic synthesis potential, without distorting the sound and operational personality of the original instrument to which it refers.
Arturia Software Center
Before proceeding with the analysis of the 5 new virtual instruments added in VC5 and leaving out a specific treatment of those already existing, partly reviewed here, it is necessary to mention theArturia Software Center (tried at v. 1.2.1.215), in fact the small utility that, by connecting to your account registered on the Arcturian website, returns all the software we have registered in one fell swoop, showing the release already installed and any Update if released by the parent company and which, perhaps, knowledge escapes us. Very convenient and practical, there is only the lack of a single button to start the download/upgrade contemporary of the available tools. At the present time, in fact, it is necessary to start the update for each individual instrument: in the case of the VC5, with its own 17 tools, it gets a bit boring and repetitive.
Even the licensing system, 5 for each user, it does not currently allow complete management of the computers on which VC5 is installed. Specifically, it happened that for theiMac in the studio, having sent it for repair and having subsequently changed the account of OSX, we had to employ 2 licenses, due to the lack of the possibility to decide which platform to remove. So be careful to remove the activation of the VC5 before a necessary system format.
General Options
The whole VC5 has undergone a small interface restyling. Even the 5 new tools are not immune: the changes substantially regarding the general functions available at the top of the screen.
By clicking on the Arturia symbol or on the name of the instrument, we are given back the set of functions Save, Export / Import, the Audio Settings and the options to resize the window (between 60 and 200%). The owners of Retina Display o 4K they will be gratified. Next to it, three Preset recall modes. If with the first we can use the search engine and / or proceed by filters, the other two options give us the list of presets, with the option of recalling them by categories. To underline the possibility for the user to define his own playlist, with recall via the switch controller, through a simple Drag & Drop of the Presets.
On the right, by clicking on the symbol of the MIDI connector, the option is activated MIDI Learn, with which it is possible to associate a MIDI controller to each parameter. The configuration, so decided by the user, can be saved by clicking on the adjacent drop-down menu.
Many tools that benefit from other programming panels will find other icons (darts or specific words) at the top right to activate them.
In the lower part, depending on the model, other options may be available, such as the management of the pedals connected to the Master, the possible deactivation of the multiple Cores for Piano V, while the management of the MIDI control channel and the eventual reset MIDI via the “Panic” button is identical for all instruments.
In the left part at the bottom of the window, however, by acting on any of the parameters, the correct numerical value is returned. Obviously, the excursion varies from instrument to instrument and from parameter to parameter.
I did not find, at the time of the test, any reference to any online manual, so you have to download them from the Arturia website or from your online account.
New Tools
The 5 new instruments added in VC5, it was said, primarily concern the addition of two historical organs such as the B3 and Farfisa and two piano emulations, one acoustic and the other inspired by Rhodes Model 73. Finally, and this concerns an absolute novelty, the emulation of the NED (New England Digital) Synclavier, which has become a true cult object among synthesis enthusiasts and with which, originally, the most important audio productions of international importance were made. : Michael Jackson, Tangerine Dream, Sting, Frank Zappa, Pat Metheny, Chick Corea are just some of the artists of the time who used this system. Proceeding in alphabetical order, we therefore have:
B-3V: certainly one of the absolute references for fans of the electrophonic organ, every self-respecting software house has released its version of the most famous of the organs Hammond. So why pursue this umpteenth reincarnation, signed Arturia? For 2 reasons!
First: if you buy the entire VC5, the B-3 V can be considered a valid add-on and, as far as I'm concerned, “a gift horse…”.
Second: the solution proposed by the Arcturia, in addition to the faithful replication of the controls and the standard sound of the B3, which will absolutely not make you miss other similar solutions, offers a series of modulation options that could make the happiness of different Producers. which, rather than chasing the live performance with a lot of control Drawbars, Click, etc. (which is still possible with a compatible master key), they are much more inclined to a greater control of the sound, perhaps with a sound modulation synchronized to the tempo of the song. In fact, if you click on the two arrows at the top right, the FX panel gives way to a new screen where both additional parameters are collected (including Polyphonic Click, Attack and Release for each of the two manuals, any crosstalk. among the Drawbars) not found in the original model (on the right), but also 10 modulators that draw operational resources from 3 main source models: MultiEG (up to 14 freely designated points with variable shape), LFO (synchronizable with waveforms classic, speed and variable phase), Step Sequencer (up to 32 steps can be synchronized). Each modulator, therefore, can assume the guise of any of the 3 sources and be addressed at will to one or more drawbars, of any of the two Upper / Lower manuals: inveterate experimenters are well served.
To customize your Hammondian sound you can then intervene at the end with the emulation of the Leslie which also incorporates 20 Reverb algorithms (they are the same as the Farfisa V and include, among others, the Eminent 310, Roland DEP-5 and RSP-550, Fender Twin). The FX equipment is completed by 5 virtual pedals which, as for the other models reviewed in this article, can take the form of Flanger, Phaser, Chorus, Analog Delay and Overdrive.
Do not underestimate the button, at the bottom, to the left of the Panic button, set by default to “Multi”. Clicking on it opens a new window in which it is possible to set in addition to the "Multi" mode which sets the B-3 V to be controlled on 2 different MIDI channels (1 and 2 by default), also a Split mode, which allows you to manage both manuals with a split point of your choice. Other controls in this window allow an Octave Shift for each of the two manuals.
Farfisa v: another classic icon of the 60s where Italian technological know-how gave overseas products a hard time. The model draws inspiration from the Compact series, in particular the Deluxe model, which was produced in the second half of that decade. Of this model, the virtual Arturia replicates all the controls that made it successful because of the sound, for the time, not found in any other electronic instrument.
They range from the two initial octaves of different color and sound, to the switches for recalling the different footages, rather than those dedicated to the persuasive click or Vibrato.
Leaving aside the basic controls, the Arturia has indulged in adding a series of features that in fact make the Farfisa V quite unique.
In addition to a Tremolo, complete with speed synchronizable, and a "Repeat"Always synchronizable, switchable in the persuasive section, just open the panel above (you have to click on the 2 arrows at the top right or at the top of the instrument) to access a series of synthesis parameters dedicated both to the bass octave (on the left) as for the main section (right side), after activating one of the 8 basic sounds. A little EG with attack and release, placed in the center of the two synthesis sections, they condition the volume curve of the entire keyboard. A little further above, we are in control of Turing individual for each of the 12 semitones, the general volume with EQ for bass and treble, a reverb to choose from 20 emulations (read B-3 V), with Dry / Wet and On / Off control (the latter in the form of a button found next to the Vibrato). This section is completed by the activation of a Booster or a Wha-wha through the emulation of the knee lever, controllable via AfterTouch, Pitch Bend or MIDI CC. The Farfisa V also enjoys the same effects section also present in the B-3 V with lots of Flanger, Phaser, Chorus, Analog Delay and Overdrive.
Plan V: 9 models available. THE 4 Upright models (Classical, Jazz, Piano-Bar and Pop), those that define the so-called "wall pianos", that is vertical, manage the 88 standard notes from LA0 (MIDI note 21) al DO8 (MIDI note 108), while the 5 remaining Grand models (Concert, Glass, Intimate, Metal, Pop), to indicate the "grand pianos", provide an unusual extension of well 105 keys covering since LA-1 (MIDI note 9) al FA8 (MIDI note 113). Those who want to experiment with piano sounds with out of the ordinary frequencies are well served.
Without prejudice to the good workmanship of the starting template, as well as the 38 factory presets, all the models share the same set of parameters that act in a sensitive way on the starting sound: the image below clarifies more than a thousand words for who has knowledge of the parameters related to the characteristics of an acoustic piano. To complete this programming area, to be added only that it is possible to recall 5 dynamics curves (2 Slow, 2 Fast and one linear), as well as being able to design and store your own.
The sound is convincing and varied considering the models available; dynamics are also of a good level, considering the test carried out with a StudioLogic SL88 master on which the running curve has been slightly modified. Among the options that give greater depth to the sound, the microphone recording modes should be noted (5 for the grand models: AB, AB Studio, Punchy AB, XY Close, XY Studio; 3 for the vertical ones: AB, Decca, Hybrid . All Mics can be disabled individually.) And the 14 Convolution Reverbs with separate control of Dry / Wet, Duration, Room Size and Decay. If we add to this that for the type of Synthesis to Physical Models there is not much competition, it goes without saying that for those who have a computer with modern CPUs and little space on the HD / SSD (MacBook Air, for example), Plan V turns out to be a viable alternative to the myriad of similar products based on sampling.
Stage-73 V: 2 models available for the Electric Piano par excellence (I remind you that for the Wurlitzer there is a separate model): Suitcase and Stage, recalled by the option of the same name at the top right. A subsequent click on the two arrows on the side gives access to the parameters for the virtual modeling of the instrument. First of all, the 8 “Harmonic Profiles” which return basic sound characteristics, emphasizing or not the harmonics of the instrument that inspired Artturia. The other parameters, on the other hand, recall the modification of the phonic elements at the base of the Rhodes: Tone Bar Resonance, Pickup Distance, Tuning, pickup alignment, Damper Distance, Dynamics, Hammer hardness and Hammer noise (see image).
As general controls, for the Suitcase model, you have available: Volume, EQ Treble and Bass, Vibrato On / Off, Intensity and Speed; for the Stage model, on the other hand, Volume and Tone / Bass Boost according to the model / year recalled with the “” switch.
As with other instruments, the Stage 73 V also benefits from the FX pedals seen previously and which can give more emphasis to a live performance. In the case of the Stage 73 V, in addition to Flanger, Phaser, Chorus, Analog Delay, Overdrive, a Compressor is also available. All FX have dedicated parameters. You can use them in cascade as you want up to a maximum of 4 at the same time. Upstream, there is then a continuous pedal, which can take on the role of Volume and Wha Wha, if you obviously want to associate it with an emulative controller, or as Auto-Wha if you use it as an automatic switch. At the expense of the Stage model, a complete Fender-style Amp is also available.
Sound: The 30 presets programmed by Arturia sound designs are in line with what can be expected from a similar instrument. There are also several sounds that take the use of parameters to an extreme, including internal FX, to return somewhat unusual sounds that, perhaps, can be used in productions that are not exactly jazz / pop oriented.
Synclavier V: talking about the Synclavier means going over more than a decade (roughly from 1973 to 1986) during which digital technologies cost as much and more than an apartment (in addition to the Synclavier, the competition was represented by the CMI Fairlight). In addition to the pioneering aspect, digital audio technology also had its own productive feedback and a strong personality, if we compare it with what we have available today. Buying a Synclavier meant investing in a unique machine that necessarily had to find its place within a production that winked at the first possibilities of Hard-Disk Recording. In addition to a substantial list of artists who have used the Synclavier, including M. Jackson, C. Korea, S. Wonder, F. Zappa, Depeche Mode, ... fans should also remember a diatribe between Synclavier supporters who give it to center of production of the entire soundtrack of the film Apocalipse Now. Yes, because speaking of Synclavier we do not think of a simple synthesizer, but of a system that, in addition to containing the first forms of Additive and FM synthesis (models I and II), allowed in subsequent models of the 80s (models 3200, 6400 and 9600TS, PostPro) also sampling (up to 100KHz with “up” to 96 megabytes of RAM and 320MB HD) and ReSynthesis. For the record, it is also fair to mention the guitar controller version with the Roland G-303 interface which anticipates the much more famous Roland GK-3 by a few years. I refer you to this link (https://www.youtube.com/watch?v=vr78ISrTElE&spfreload=10) where a very young Pat Metheny gives a practical demonstration.
Returning to our virtual version, the Synclavier V, compared to the original model (therefore considering only the Additive and FM synthesis) adds:
- a bit depth that can be oscillated between 4 and 24, while the original was fixed on 8bit;
- up to 12 "Partial Stamps" compared to the original 4. Each Partial Timbre enjoys, from the sound point of view, an FM management with Carrier and Modulator each with up to 24 harmonics freely and graphically manageable both in Amplitude and Phase. The Carrier / Modulator ratio, for each Partial Stamp, has its own timeline (up to 300 seconds) on which the interrelation between them can evolve at will;
- graphic-temporal representation of the envelopes, of the DADSR type, both of Amplitude and of Harmonic Content, up to 30 seconds for each phase, giving further dynamism to the whole sound spectrum of the Synclavier;
- and again: global FX with 6 algorithms between Modulations, Delay and Reverb; graphic mapping for fading Split / Layer, up to 16 modulations with 8 sources and 31 destinations, mixer with Volume, Pan, Turing, Transpose, FM Mod / Ratio and Pitch Track for each single partial.
Incidentally, almost all the synthesis parameters that can be found in graphic mode in the SCR panel can also be changed in the second panel which can be recalled with the two arrows visible at the top right. In this case, the mode is that of an analog mold complete with potentiometers and buttons, it being understood that by modifying a certain parameter, as already mentioned in the paragraph of the General Options, the value is returned to us in numerical form in the lower part of the window, on the left.
PS: with the release 1.0.4.1109, the Synclavier V has stopped emitting its particular voice both in the Standalone mode and in its role as Plugins with Logic Pro X. To create the demo that you can listen to below, it was necessary to operate from Analog Lab 2, where the Synclavier instance did not create problems.
Restyling of the old ones
It was said that the whole VC5 has undergone a graphic restyling that has brought together all the instruments in the distribution of global functions.
Even the names given to the Presets have lost the reference to the sound designer who had programmed them: I remind you that now there are Tags which can simplify the selection (in the description of the Preset there is also the name of the Sound Designer. ed). It should be noted that the comparison was made with my "old" VC3, but already at a quick glance (see the different images side by side) the work done by the programmers immediately stands out, making all the tools more realistic and close to the model a which they are inspired by. Substantially identical, however, remained those added with the VC4: Matrix 12V, Solina v e Vox Continental V reviewed in this article. Compared to the VC4, there is no Spark Drum Machine.
However, comparing the sounds, some things have changed. Whereas for some instruments some presets have disappeared, for others the recall of the same sound has given back to the listening slight, very small differences in the sonority.
Still, even at the operational level, some features have been modified or even disappeared in favor of others. The most obvious things I could detect are:
- MiniV / CS80V / Prophet 5VS: the SoundMap was eliminated, which allowed a graphic randomization of the recalled sound, mixing the sound, parameters included, of neighboring Presets on a two-dimensional plane. In the Mini V, opening the double panel, the Motion Recorder, all to be experimented, does not make us regret this lack too much;
- Moog Modular: In VC3 placing the mouse on a cable, these would move to show the parameter or its underlying value. In the new VC5, by acting in the same way, the cables become transparent. This solution, I believe, to the full advantage of the graphic refresh. The Sequencer / Arpeggiator module has also been moved below the oscillators.
Analog Lab 2
To the 16 synths described so far, the V Collection also adds version 2 of the Analog Lab which, rather than being a real synth, can be considered a Browser with steroids that groups all the sounds produced with the synths of the VC5 . The modification parameters are about twenty and are already associated with the main parameters for each of the synths recalled. As you can expect, the graphic layout follows the Masters produced by Arturia itself, in particular the recent KeyLab series.
The main panel, in fact, retraces the entire arrangement of the potentiometers and slides present on the Masters, allowing the user to be able to intervene on the sound without worrying about matching the parameters to the controls.
What if I don't have a Master Arturia? No problem: a complete MIDI Learning system allows instant matching of the 23 controls provided (in addition to the 20 parameters, the general volume of the synth and the two buttons for recalling the Presets must also be considered).
Interesting is the new “Multi” category which gives the possibility to superimpose two different sounds, coming from any of the 16 synths, complete with independent send effects and the possibility of structuring them in Layer or Split keyboard. Also present are the switches to be able to independently assign the Pitch Bend, Modulation Wheel, Aftertouch, Sustain and Expression Pedal controls.
The programming of the bitrinbric “Multi” can be done from any preset or synth you are using: a special button opens the screen to add the second sound with a simple drag'n drop.
Also available is a button to call up the synth from which the preset derives. In this way, by opening the screen of the specific synth, you can act to shape your sound according to personal tastes.
Conclusions
As far as I'm concerned, the transition from VC3 to VC5 was almost a quantum leap. The new instruments (I personally liked the Stage 73 and the Synclavier V very much) return that completeness of sound palette that was missing in previous versions. In its entirety, what the VC5 offers today can make more than one producer happy.
Notwithstanding that within your DAW there are +/- valid alternatives of some timbres, the VC5 in my opinion should be considered in its own right, as the largest synth "algorithmic" offer of the past, whose alternatives, rare if not unique, they are instead structured on sampling of the originals, rather than on Physical Modeling: this aspect leads to the installation of dozens and dozens of Gigabytes of data in the case of sampling-based libraries, compared to just over 7 Gigabytes required between Arturia applications and libraries: to keep in mind also about 70% of this memory is used for graphic resources, rather than sound. Appearance the latter that substantially lightens our HDs, as long as our work platform is equipped with recent CPUs (the test was carried out with a MacMini i7Quad and 16GB of RAM, OSX El Capitan).
Considering the emulation of historical synths, I would not be surprised if some synthesis teacher can use them for educational purposes, as well as for production.
Finally, we have requested several times to be able to try the VC5 in combination with the new KeyLabs, which represent the natural combination with the VC5 in the Arturia eco system, including the very recent MiniLab MKII, to be considered in case you want to free yourself from the mouse, the small Swiss Army Knife for Creative Sound Design.
Brain drain?
En passant for pure bells, it seems right to release this note of color. With the development of the VC5, and in particular the evolution of the MINI V, replicating the MiniMoog, in the past weeks Arturia dedicated an entire page to Stefano D'Angelo who, starting from an innate passion for music and audio technologies in general, after graduating from the Polytechnic of Turin and obtaining a Master in Finland, he joined the ranks of Sound Engineering Arturia in 2015, contributing significantly to the development of the latest emulation releases.
Demo sound
Although the Arturia site or the ubiquitous YouTube return demos of the various tools described in this article, thanks to the availability of Panties Soldiers, and their keyboardist Vincenzo Tramontano, we have packaged two small audio demos without many artifacts.
In the first, the two organs were highlighted, B-3Ve Farfisa v, with the latter used in the final only. With the second piece, the remaining 3 new instruments were used: Plan V, Stage-73 V e Synclavier V.
In both demos, recorded specifically in live mode, without any retouching (not even on the mix and with some small executive errors left on purpose. Ed), only the sounds of the specific instruments were used, without any other addition of plug. except for the use of limiters on the output bus with the Logic Pro X Adaptive Limiter on the Stereo Out. The export is in mp3 256kbps VBR.
Demo 1 (B-3 V, Farfisa V) "Panties Solders"
Demo 2 (Piano V, Stage 73 V, Synclavier V) "Panties Solders"
PRO
- Collection of 16 tools based on Physical Modeling;
- 5 new instruments compared to previous versions, in particular the Stage 73 and the Synclavier V;
- Analog Lab 2;
- graphic restyling, with window for Modular and ARP2600 freely resizable vertically;
- new Preset recall system, based on Tags, as well as Categories;
AGAINST
- Licensing and download system not really faultless;
- No online manual: you have to download it from the Arturia website.
- The new percentage scaling system takes up too much memory.
The full version of the VC5 normally costs € 499,00.
For those coming from previous versions, upgrades, of course, are discounted. Just log into your account to check the cost. I recommend giving it a little thought.
The Italian distributor is Midiware.
Alfred Capozzi
Note: while wanting to be fully objective, this test is still based on the direct experience of the writer, so all evaluations and indications must then be mediated by the skills and knowledge gained by the end user.
