Arturia's Mission is to provide musicians with unique means of creation for unforgettable performances. Focusing on innovation, we strive to integrate the latest advances in computer music research and technology into our products. This involves working closely with partner research institutions, in the development of cutting-edge musical instruments and software.
Our instruments have gone on to be used in making many hit records and soundtracks.
Founded in Grenoble, France, in 1999, by Frédéric Brun and Gilles Pommereuil, Arturia specialises in the development of music software and hardware for professional and amateur musicians.
Frédéric and Gilles, both engineering students at INPG, Grenoble Institute of Technology, shared a vision that technology could open music creation to everyone. Their first product, Storm, was an all-in-one virtual studio, allowing anyone to create music easily, for little money.
In 2003, Arturia began to recreate legendary analogue hardware synthesizers in digital format. Their first software synth, the Modular V, was critically acclaimed and became a great success. Several other software instruments were released in the years following, giving to many musicians access to legendary sounds and creative possibilities they could only dream off.
Arturia software synthesizers are based on TAE (standing for True Analog Emulation), an advanced proprietary technology allowing accurate modelling of analogue circuitry behaviour on personal computers. Developed by Arturia's in-house Signal Processing team, this technology has been employed to successfully recreate the sounds produced by many classic analogue synthesizers. It keeps on evolving and becomes more precise year after year.
It deeply bothers me that the separate 'Arturia Software Center application' insists on opening in the background any and every time I open an Arturia V Collection 8 plugin and that in doing so, also delays the loading speed and quick access of Arturia plugins.
This is unacceptable to me as a paying customer and of all the many plugins I have purchased, the Arturia V Collection 8 (and Arturia Pigments) are the only purchases which I regret making. One thing is for sure, I know for certain I will never buy any Arturia software again in the future. I just wish I could offload these unused and unwanted plugins to some other poor soul.
I similarly avoid iLok plugins for their slow loading performance-degrading reasons (among others things) and if I had realised this was how Arturia's plugins also operated, I never would have bought them in the first place. In fact all these Arturia plugins are currently now just sitting on my PC never being used in any of my projects due to their sluggish load times, and since I have other far better and faster-loading alternatives, like my DUNE 3, PianoTeq 7 and U-He synth collection, which are unencumbered by such burdensome protection millstones.
I'm a great Hammond fan! When I was a younger teenager it always sounds like lame solo entertainers for me. But then I became a fan of Rockmusic and realized all that weird an agressive tonewhell organ sounds...Deep Purple, Uriah Heep, The Doors, Genesis...wow. A few years ago I discovered the wonders of MIDI and began to make music as a hobbiest. In the beginning the possibilities seems overwhelming, so much to learn but so much fun too. I nearly went crazy when I saw that all musical instruments on this planet are available as VST plugins too. One of the first VSTi's I've tested were the Iliades Freeware Organs and I was excited. What great pieces of software. Later I began to check out the commercial VST's too and decided to buy Arturias V-Collection because of all the legendary synths in this collection. After weeks of just playing around with Oberheim, ARP, Prophet and other synths I realized just now the B3 and gave it a try and so the love story began. It looks simply great, the GUI is scalable so it even looks great on 40 inches in full size...if you want the feeling of having the original monster in your studio. :D It sounds like the original, I don't know who dares to claim that he hears a difference. Only analog fanatics I think. For me the Arturia B3 is like having an original Hammmond plus a nice effect section and fantastic digital improvements (e.g. delay, flanger, convolution verb, compressor, step sequencer...) without sacrificing a sack of money and half the space of your room. Check out the free demo version!
I love this reverb. You can add a fine retro feeling to your sound, use it in the "punch" mode to give your drums that special bite or even use it in the "modern" mode as daily reverb for all purposes. I never heard a plate reverb live but in comparison with sound examples of the real EMT 140 the Arturia Plate is very convincing in my opinion.
It's really hard to expand upon Ficciones review, which is really thorough. Pigments is a great sounding, MPE compatible softsynth. There are many, many presets that clearly someone had fun creating. Highly recommended.
This is actually a review of the Arturia V Collection 7 and not Analog Lab. I tried to upload it as a V Collection review but wasn't able to. Also, I had written far too much, so i've only included the overall description of how I found the collection and not the individual instruments.
Anyway, here goes.
A year ago, I was approached by someone at Arturia to review some of their software. Stupidly, I chose the V Collection 7, comprising of 25 instruments in various categories. Acoustic piano, electric organ's/piano's/string machines as well as analogue and digital synth emulations. All instruments are classics, with many of them being rare or very expensive to maintain. The analog instruments are exceptionally well done as far as physical modelling goes. The digital instruments are pretty much exactly the same, although it's difficult to properly know without doing an A/B comparison.
When I say stupid, I don't mean the collection is stupid, far from it. It's very advanced and has enormous sound design potential, so much so, that after a full year of use, I feel as if I have barely scratched the surface of what it can do. What I mean by "stupid" is, that there is so much to review that it's almost a forboding task.
It's easy to be overwhelmed by the sheer amount of instruments on offer but Arturia have foreseen this and have developed a comprehensive tutorial for each one. It's certainly worth working your way through them, if only to familiarise yourself with what's on offer. Mastering any instrument, will take time and effort.
For instruments like the Arp 2600 V, the Buchla V, the Matrix 24 V, the modular V, the Synclavier and the Synthi V, I found this invaluable, as they work in a way foreign to me, but thanks to the benefits of computer screens and a lot of clever programming, much of the V Collection is easy to comprehend. For anything that isn't covered in the tutorials, Arturia have provided e-manuals for each instrument plus there are a myriad of youtube vids covering everything you'd like to know and a whole lot more. So, if you're going to take the plunge, you may as well learn deep, as you'll be rewarded with some very interesting and original sounds at the end.
Aside from the included instruments, one other thing I have found incredibly useful is Arturia's controller template system. I have an M-Audio Oxygen 8 keyboard controller. It's a pig to program and only has 8 onboard templates but with Arturia's guiding hand, it has increased my ability to interact with each instrument, and given me unlimited templates, all within easy reach. Sure this works better with more modern controllers but I feel it has breathed new life into my old technology. Furthermore, their "midi control centre" makes this process even easier. Thank you Arturia.
Within the past 2 weeks, i've managed to borrow an Arturia Keylab 49 keyboard controller, which integrates even tighter with the software and more so again with Analog Lab 4, which is a more basic version of everything in the collection, containing thousands of expertly programmed presets from all the included instruments, each with controller assignments that allow some sound manipulation.
After playing with the V collection on and off for the past year, I think that perhaps I need to learn to play the keyboard better as even though my music is mostly electronic weirdness, i'm obviously missing out on the more conventional tones and the V collection provides these and to my ears, they're all top notch.
If you're looking for a package that does just about everything, then this software is for you. There is so much of it that you can get lost for years, yet, with a bit of know-how it can emulate sounds from your favourite recordings almost exactly, as well as make sounds you've yet to hear. There are countless presets to be found in the collection which you'll instantly recognise and they're honed to within a millimeter of the original. This, of course, is testament to Arturia some great sound designers but also to the tools provided by Arturia. There's a lot of skill gone into coding these instruments and it can be heard quite clearly throughout each and every one. It seems almost impossible to believe that the majority of instruments employ NO SAMPLES WHATSOEVER, which makes for a far more expressive piano/organ/whatever than any sampler i've yet to hear.
It's not that I hate sample packs but I really don't need them in what I do. They slow down your computer as well as fill up hard drives unnecessarily and they're not nearly so malleable as their physically modelled cousins, plus not having a mass of weighty samples on your computer is very liberating. Add to this Arturia's skill at taking the instruments further than the originals, such as adding more capable envelopes/modulations/effects, all of which take it to another level, then you have to agree that what is on offer here is far better than the major libraries (Kontakt/Halion etc).
As for its bad points, well there really aren't that many. I suppose 499 euros is a hefty price to pay but when you understand what you're getting, it's actually very fairly priced.
So, if you're in a covers band and you want your covers to sound as close to the original as possible, then it can probably be done with the V Collection, if you're a keyboard player who needs the utmost expression, then the V collection is for you. If you're making experimental weirdness, then the V collection will thrill your ears, if you're into making run of the mill dance music, the V collection will offer you all the tools you need. I'd actually say that there isn't one style of music that couldn't benefit from something found here.
Furthermore, you need to understand just how forward thinking Arturia are as a company. You may wish to wait until the V collection 8 hits the shelves. It would appear that this is a company that doesn't rest on its reputation but instead, prefers to push ahead in directions you never knew were necessary and over the years, they've blurred the lines between "normal" and "fucking right out there", so I expect the next iteration will be just as brilliant. I almost can't wait to hear what they do next, except for the fact that i've barely touched on the tools that are already at hand.
One thing I would like to see in a future upgrade is for Arturia to offer every aspect of every synth as a eurorack style module, allowing everything in the collection to interact more easily and hopefully, by then, i'll have turned my head more towards the modular approach.
This is one of my favorite synths. Don't let the simple 'old' interface and limited controls to fool you, as there are lot's of sound design options if you know how this synth work. The prophet is really a fun synth to learn and teach synthesis with all the ingredients needed.
The filter sounds great and really give the growl expected from it.
Of course it's not just the Prophet 5 but also Prophet VS and the combination of both. This can produce modern sounding patches with ease and joy. To me this is really a playground.