Arturia V Collection 6

[rod_zero]

The Easel looks good, sounds good but all the beauty doesn't translate in usability, it is hard to read and have a good glance of parameter values.

I prefer working with aalto by a long shot even if it is not a 1:1 buchla clone, at the end you want weird noises from non substractive architechture and both deliver.

Thje gravitational modulation is a great idea.

[PietW.]

Am I blind, but where is the resynthesis in the Fairlight plugin?

[wagtunes]

The Easel looks good, sounds good but all the beauty doesn't translate in usability, it is hard to read and have a good glance of parameter values.

I prefer working with aalto by a long shot even if it is not a 1:1 buchla clone, at the end you want weird noises from non substractive architechture and both deliver.

Thje gravitational modulation is a great idea.

Is it hard to read because the GUI is small? I can't imagine that with all the GUI changes they made with V5.

[SJ_Digriz]

I was joking with the devs about coming out with the Easel, CMI and DX7 simultaneously...
Those are 3 of the most difficult to use/program synths ever.

I hear what you are saying about the Easel, but when you get it ... the numbers are meaningless. You just have to understand that the sliders are "upsidedown" along with other routing peculiarities. It was always meant to be a performance instrument, not a patch instrument. There are certainly easier architectures to use though, that's for damn sure.

[SJ_Digriz]

Is it hard to read because the GUI is small? I can't imagine that with all the GUI changes they made with V5.

No, the actual Easel is hard to read as well. In fact, if anything the plugin is easier to read But the various colors on the grayish background along with the font are not easily readable. But again, it's not meant to have every slider set to the .0001 spot. Once you know each module, then the routing .. the "reading" is not necessary.

[fmr]

Am I blind, but where is the resynthesis in the Fairlight plugin?

First, you have to be in the screen editor (button SCR at the top right)
Then, you select a sample, go to the Edit tab, and you have there a button called ANALYSE!.
It automatically changes you to the Time Synth, where you have the resynthesized version of the sample
If you go to the edit tab in this window, you have there all the controls to edit the resynthesized sound (or synthesize one from scracth, using additive synthesis)
When you are done, you can click the button COMPUTE!, and you will have a new sample that's the result of the synthesis work (or you can simply use the synthesized version, letting the voice slot selected in Time Synth.

[zadillo]

I'm not sure it's ever going to be feasible to expect perfectly "fair" value when it comes to upgrades for people based on what they've bought before.

Personally, I originally bought V Collection 4 for $169 in January 2015, which was offered as a special offer - the only Arturia product I owned at the time was Mini V (which I think I must have gotten for free bundled with a keyboard). When V Collection 5 came out, I bought the upgrade for $199.

Currently I'm being offered the similar $199 upgrade price to upgrade to version 6.

If I tried to total that up, I'd come out to a total investment of $567 since January 2015.

I could say that's "unfair" given that a new customer is able to get it for $399.

But at the same time, I also have less invested than a customer who paid full price for V Collection 4, or who has been buying upgrades longer than I have.

I just think upgrade pricing is never going to be "fair" in the way I think is being asked for. There has to be some sort of balance I imagine.

This doesn't even seem unique to Arturia. I bought Kontakt 5 crossgrade for 50% off after registering the free Drummic'a, so I got it for $125. I then used that to get the Komplete 11 and Komplete 11 Ultimate upgrades at 50% off. My total investment to get to Komplete 11 Ultimate is much less than someone who paid full price for it.

And I have less money invested in Komplete than loyal Komplete customers who have bought individual upgrades from 8 to 9 to 10 to 11. There's probably people who have spent thousands more than I have.

Same with Waves - I got the Waves Platinum and Diamond packages during Waves' recent crazy sales for a few hundred bucks - it's probably a kick in the teeth to people who paid thousands for these packages.

I've paid for Reason upgrades since Reason 6, yet Propellerhead offers the same $129 upgrade price to someone who only bought one version of Reason. I don't get any special discount for having bought 7, 8, 9 upgrades, etc.

I'm not sure yet whether I'll pay the $199 to upgrade to V Collection 6 - like others here, it's probably more attractive if it gets offered at a lower sale price in the future.

I do wish I got a better upgrade price, and I can see how it comes across as unfair that someone who only owns one Arturia product gets an upgrade price only $50 more expensive than mine.

But at the end of the day, they probably have to figure out value and get people in as customers.

I'd say that I'm at least impressed/happy that Arturia is upgrading it at all - I had heard rumblings that Arturia wasn't doing as much with software and was focusing their efforts more on hardware. If the $199 upgrade price means it was more feasible for them to do a more significant upgrade with multiple new instruments, etc. I'm glad for that.

I'd probably prefer that than an upgrade they could only ask $99 for from me but with less new instruments.

[fmr]

The Easel looks good, sounds good but all the beauty doesn't translate in usability, it is hard to read and have a good glance of parameter values.

I prefer working with aalto by a long shot even if it is not a 1:1 buchla clone, at the end you want weird noises from non substractive architechture and both deliver.

The gravitational modulation is a great idea.

Like with the real Buchla Easel, this is an instrument meant to be "played" (messing with the parameters in real time). If you have a good controller, with enough assignable controls (I don't, unfortunately), you can take the best out of it. This is not an instrument for using "presets", since many times the preset is meaningless, unless you start messing with the controls in real time.

[SJ_Digriz]

Like with the real Buchla Easel, this is an instrument meant to be "played"

exactly .. And like I said, once you learn to "see" the front panel, it isn't that hard. You just don't see parameter values easily.

Reminder ... go use the effect Lefthand/righthand sections. It's really, really nice.

[gentleclockdivider]

Leaving aside the additional features and comparing with dexed like for like, they sound pretty similar. The dx7v is slightly tamer at high modulation levels, but sometimes I preferred the one and sometimes the other (depending on algorithms). The dx7v's modern/vintage DAC settings don't make much of a difference (the vintage is slightly noisier, but both models seem to exhibit the same levels of digital hash). Dexed's three possible settings all sound pretty different, both in terms of the output stage as well as the internal processing. The dx7v's UI is much better, though: dexed's envelopes and rate scaling controls are definitely it's weak point. And it definitely helps with sound creation that you can hear changes as you make them, rather than only on the next note being played. Dexed has one big advantage, though, in the ability to export dx7 presets. This makes it a nice editor for (amongst others) the volca fm. But I guess this would be difficult for dx7v given all its extra features.

And it's the extra features that definitely kick dx7v into a different league altogether, particularly the modulation possibilities. Which leads me to a feature request if anyone from Arturia is listening: it would be useful if individual operator feedback could be negative as well as positive (like the reface dx), because then it would be as easy to create square waves as it is to create saws...

Negative feedback doesn't give you a square , it would give you a reversed saw .
What yamaha actually did is take the squared output (pow 2) of the operator and fed back to itself .
Rectify does also work but yields a slighlty different outcome .
For simplicity 's sake they just called it negative feedback , but it's not really just negative .
Some screenshots
https://imgur.com/bD3kqKw
https://imgur.com/x92QtUd
https://imgur.com/HIkjv6D
https://imgur.com/y18Yw4i

Have a look at my ensemble
https://www.native-instruments.com/en/r ... show/8291/

In DX7 V, selecting Operator 2 to 2 (best), 3 or 4, and inverting the sine wave, you obtain a kind of square wave (not a perfect square, but suitable for the majority of applications. You can get a richer waveform if you lower the carrier (Operator 1) to 0.5

This works in any algorithm that has operator 2 as modulator of operator 1. Of course, you can repeat this with operator 4 modulating operator 3, and operator 6 modulating operator 5 (algorithm 6, for example), which will give you three squareish waveforms.

But you can also even simply select a square wave. No need to use any kind of twists.

I was talking about single opearator feedback .
I know how a dx works

[ke2041]

Am I blind, but where is the resynthesis in the Fairlight plugin?

In Sampling->Edit click on the "Analyse" button. It will convert your sound to Time Synth.

[Edit] Already answered by Fernando here

[SJ_Digriz]

Am I blind, but where is the resynthesis in the Fairlight plugin?

In Sampling->Edit click on the "Analyse" button. It will convert your sound to Time Synth.

fmr gave him the lowdown while I was typing the answer.

[egbert101]

<delete>

[fmr]

I was talking about single opearator feedback .
I know how a dx works

Sorry. It wasn't my intention to patronize anyone

[ZeePok]

 
@Arturia:

Why can't you explain why long-term customers can't get a better upgrade deal?

Seems you're dodging the issue.

v2 -> v4 -> v5

But I can't (morally) afford this 200 Euro upgrade so will wait 'till/if it goes on sale.