One of the first synths I ever owned was a Pro-5. I had played with NI's Pro-53 and I liked it, but IMO and from what I remember of my Pro-5, this VST is a lot closer to the real thing.
The Prophet 5 was the workhorse of rock/pop bands of the late 70's early 80's and I still have some old Keyboard Magazines in my closet somewhere with the advertisements for the Sequential Circuits line of keyboards. I loved my Pro-5 and this VST redition doesn't dissappoint. I have the V2 version of this VST and Arturia did something really cool, the made this VST two plugins in one. You get the Prophet 5 and the Prohpet VS all in one plugin!
The Prophet 5 is the more famous of the two, but the lesser known VS was a digital wave table synth that produced some sounds that were impossible to get out of any other synth of the day except for the PPG Wave. The VS has wave sequencing capabilities that provide metamorphic sounds that swirl around the mix in a way few other synths are capable of out of the box.
This along with my OPX-PRO plugins are my "go to" plugins for a large variety of music I do that requires analog sounds. This is partly because I am very familiar with how to get the sounds I need out of them, but also because they both sound great! The Prophet 5 was never as thick as the Oberheim but it was as warm as a down jacket on a cold winter day. So if I need a warm expressive pad, or a lead with character, the Pro 5 does the job without muddying up the mix. If you really need lushness and thickness, then the Oberheim plugin probably suits your needs better. That said, you can get thick lush sounds out of the Pro 5 with some outboard EFX VSTs.
The built in EFX are somewhat rudimentary IMO and I've had the occasion to patch the output of this VST into other EFX VSTs to get the results I want, but if you take into account that the original had no EFX in it whatsoever, this is a welcome addition.
The previous reviewer mentions resource issues, but I haven't really seen any in the newer V2 version of this plugin, so maybe Arturia has fixed it. I have this plugin in virtually every VST rack I build for cover bands I play with. This is one of my favorite plugins and I would replace it in a minute if I were to lose it. If you need a workhorse plugin that covers retro analog sounds authentically and you can only buy one plugin, this would be the one to get. I always suggest you download the demo and try it out first to make sure it's what you need. In my other reviews of the Arturia plugins I mention that I bought the Arturia V2 Collection and this plugin was a part of it. I would have bought this one stand alone if I had to. I like it that much.
The 80's was the epitome of excess in every way. Pop music of the 80's was no exception. With the advent of MIDI in late 1983, the norm became how many sounds can be stacked together and since the best sequencers back then ran at a whopping 120ppq, everything had that sterile mechanical sound. Just listen to any Lisa Lisa and the Cult Jam song to see what I'm talking about.
One of the mainstays of synth pop bands of the day was the Jupiter-8 and later, it successor, the Super Jupiter. It's ability to generate cutting digital sounds were all but synonymous with the music of the day. They were responsible for a lot of those crystalline bell sounds you hear a lot, as well as those thin strings and some pop synth basses.
Arturia does a good job with this VST version and even tosses in a few extra features the original JV-8 never had. The one major drawback of this particular VST though is that it is a resource hog! I sometimes find myself playing with bands that cover 80's music and have the need for the sounds available in this plugin. But when I use this one, I have to literally plan out my VST rack more efficiently because this VST, for whatever reason, just sucks CPU power like crazy. Hard to figure this since no other Arturia plugin I have is nearly as resource intensive as this particular one.
As with all Arturia's other TAE based synths, this one is pretty darned accurate and has it's place whether you play in cover bands that touch on 80's music, or you are trying to create a retro type track with an authentic sound. The step sequencer is nice and can be routed to a variety of modulations rather than notes so you can create some complex textures with movement in them based on time. Very cool!
IMO the 8 always lacked the warmth of other contemporary synths of the day. It was a little too pristine. So if you want fat warm sounds, you could get a few out of this synth, but it's no minimoog or Massive.
Overall, unless you are doing 80's or retro 80's music, this VST would be more of a novelty than a necessity. That's not to say it's a bad plugin. It's just more niche than others. Since I got it as part of the V2 Collection, I have it and will make use of it. I hope that as updates become available, Arturia will be able to do something about the amount of resources it gobbles up.
I bought this VST several months ago because I needed that fat Oberheim sound for some songs my band does live.
This is a good Oberheim incarnation and has all the bells and whistles that came on the original hardware version, plus a few extra. The sound is big and fat just like the Obies of the day. I can do a fairly direct comparison because I still own a Matrix 1000 and have it in my studio so I can hear the differences. The differences are there, but there not so much that this synth can't be considered a fairly faithful recreation from the sound standpoint.
The added capabilities of being able to pan and tune each oscillator individually is really nice. Where this VST lacks though is in the area of Midi implementation and EFX.
Virtually every other "decent" VST out there usually has a built-in chorus, delay or reverb somewhere. For me this is very helpful since I can store the appropriate effect with each patch. The OPX-PRO does not have any onboard EFX. While it sounds big, all the older analog synths benefited from EFX added to the patch and the Obie is no exception. I have to chain in outboard VT EFX to get the sound I need from the Obie and have to program separate patches on those EFX so that they load when I change the patch on the OPX. At $149.00 it could have it's own onboard EFX I think.
Also, no midi learn capabilities so you have to handle controller mapping in the host or on the controller board itself. If you're fine with that then this isn't a huge deal and that is in fact how I'm dealing with it myself. I've just gotten spoiled over the years with the midi learn capabilities of a lot of other commercial VSTs.
In the end, this isn't a bad VST and it sounds great and pretty darn authentic. I would highly recommend downloading the demo version and playing with it a bit to see if it suits your needs.
I bought this as part of Arturia's V2 Collection. Because I never got a chance to play with the original hardware version, I can't completely vouch for the authenticity of it's sound. But since every other Arturia TAE based VST seems to hit the nail on the head, I have no reason to think it sounds anything other than authentic.
The previous reviewer focused on value for the money. I don't totally discount what he says, but since I got it as part of the collection, I don't feel any buyers remorse. That having been said, if I were to buy Arturia VSTs one at a time, this would have been more towards the bottom of my list. Not because it's a bad looking or sounding VST, just that I've never really spent a lot of time with ARPs over the years when compared to Moogs.
Still, there's a lot of flexibility to be found in this VST. The 2600 was a "partial modular" synth which means that it wasn't as flexible as a fully modular synth, but it had more flexibility than the hard wired OSC to VCF to VCA signal chain that most every other synth comes with.
In the end, if you get this VST for nostalgia reasons, you won't be disappointed. If you get it for sound, you won't be disappointed. If you're looking for the biggest bang for your buck, then search a little more.
The previous reviewer brings up a good point. With this and ANY other VST purchase, download the demo and play with them extensively before spending your hard earned cash on them. Since this came with the collection, I'm a happy owner and glad this VST is part of my arsenal. If I lost it somehow though, I'd replace the others first before I'd reinvest in this unless it was in a collection as was the case for me this time.
I recently bought this VST as part of Arturia's V2 Collection. One of the first synths I ever had experience with as a kid was a MiniMoog. I spent countless hours tweaking the knobs and inventing all kinds of different sounds on it.
I can say, that of all the MiniMoog emulations out there that I've heard, this one is by far the most accurate. I guess that's why Bob Moog endorsed it before he passed. The sound of the MiniMoog oscillators and filters have been the target of many hardware and software synth manufacturers for many years, and they've all come up short. It's hard to describe, but if you've ever played with the original MiniMoog, then you know what I'm talking about. Arturia is the closest I've ever heard the MiniMoog's "sound" since the original.
I do a lot of gigs where I have to play various Funk, R&B and Pop keyboard parts from recordings of the 70's and 80's which, of course, was the heyday for the MiniMoog and when I use this VST live, it sounds like the real thing.
There are lots of VSTs out there that have the capability of creating similar sounds as the MiniMoog. But if you want that "authentic" sound, I haven't really heard any of them get this close.
I recently bought the Arturia V2 Collection and this VST was part of that collection. Arturia has hit it out of the park on a number of their VSTs and it seems that the MMV and the Prophet V are their flagship VSTs. The sound is amazing and the VST is rock solid and stable. I've used it in several popular hosts and had no problems with any of them.
If you are a knob jocky, then this VST is NOT for you! This is subtractive synthesis in the raw. They way it used to be done before the advent of digital programming circuitry. You need a little understanding of the concepts of subtractive synthesis to get the most out of this VST. You don't have to be a rocket scientist though and once you get used to how to patch modules together, you'll fly around the interface just the same as you would with any other VST.
The beauty of the modular is that there is way more flexibility than what you would get out of any other hardware synth that succeeded the modular era, because signal routing isn't the cut and dry oscillator to VCF to VCA signal chain we've all come to see in so many synths. This means you can get some truely unique sounds that are unobtainable by most other VSTs.
The downside to this VST is simply the scrolling, but there really isn't any other way to do it on a computer monitor, and if you reduced the size of everything to fit on a screen it would make it harder to see and subtract from the visual aesthetics of this VST.
This is one of the funnest VSTs to play with. Sometimes I just start patching stuff together to see what I come up with.
Massive is an accurate name for this VST! It sounds huge and it is incredibly flexible! I got it as part of Komplete 5. I spent about a month figuring it out and programming all kinds of sounds such as pads, leads and comps to use in a live situation.
The biggest complaints I have about Massive though, is that it just isn't stable! It crashed on me every time in Ableton 7 and 8, in Sonar and Cantabile! And when I mean crashed, I mean it rendered the VST host completely frozen. I'd have to shut down the VST host and restart. For that reason, it is completely unusable unless you're in your own studio and have the time. I also found it had some serious aliasing issues in the higher range on many of the waveforms. Finally, it's a CPU hog! Where my other VSTs might hover at the 12-15% range for a similar monophonic lead sound, Massive would get into the 30-40% range. I've since recreated several of my leads in other VSTs and found them much more CPU friendly. They don't sound quite as fat, but I know they won't crash on me on a gig.
I don't know if NI has fixed any those issues in their latest incarnation of Massive in Komplete 6 or the new Komplete 7. If they have then it is a nice VST, but if not, then you may be better served with a different VST.
I use other NI and really like their products, Massive is the only one that seems to give me problems.