Year / Release Date : 01.2020
Version : 7.1.2
Developer : Arturia
Developer’s site : Arturia
Format : STANDALONE, VSTi, VSTi3, AAX
Bit : 64bit
Tabletka : present R2R
System requirements : Win 7+ PC: 4 GB RAM; 2 GHz CPU.
8GB free hard disk space
Description : 6000 keyboard sounds, 170 drum kits, 17 software instruments, considered a milestone in the music industry, V Collection is a solution for professional musicians who value quality and time. You will find synthesizers, organ, electric piano and string machines in this amazing collection of 12 instruments. You will get not only the accurately recreated nature of the sound of these legendary devices, but also a similar user interface that has made and has been making them leaders in the studio and on the stage for many years.
Synclavier V is a tool that accurately recreates and enhances the capabilities of a digital synthesizer that contributed to the creation of major hits and soundtracks for films from the early 80s. Its unique blend of additive and FM synthesis technologies has been created for stunning variety and a unique universe of cinematic pads and evolving tones.
Piano V presents you nine world-class pianos, ranging from a concert grand piano to a studio piano and unconventional designs. All instruments are based on modeling technology applied to sound and mechanics – strings, mallets, mixer, microphone positions, and much more.
B-3 V introduces you to the king of electronic organs, the rich-sounding B-3, which was the basis of jazz, gospel, hard rock and reggae, and has been standing in every professional studio around the world for more than half a century. His electromagnetic tonewheel design gave him powerful qualities that later transistor organs no longer had.
Farfisa V brighter than Hammond and sharper than Vox, this transistor organ has helped amplify the sparkling sounds of the top 40 hits of the 60s and still maintains a boil of optimistic genres so far. This virtual analogue has grown to a synthesizer, and can use custom waveforms, synchronized tremolo / repetition, has more control over envelopes and built-in effects.
Pigments 2 – A powerful virtual analog tabletop wave synthesizer – Pigments will change the way music is created. Turning a spark of imagination into sound is the most important, exciting part of making music. Pigments makes this process natural, intuitive and vibrant.
Apr 25, 2019 These are my Best VST Synths 2019. VSTs that never failed when I wanted to have crips and clean sounds for the songs, film and game scores I composed. Oct 01, 2017 IK Multimedia Syntronik vs Arturia vs Omnisphere. With analog synths emulation by Arturia Jupiter-8v and Spectrasonic Omnisphere. With the Arturia V Collection 6 Reverb Demo Video. Dec 05, 2017 The team at Arturia are proud to announce that V Collection 6 is now available. V Collection 6 represents a landmark in the title’s history, with the addition of 4 sensational, iconic instruments, bringing the total number of synth and keyboard recreations to 21. V COLLECTION HAS TRULY COME OF AGE. StudioPlug Pad City (Omnisphere Bank) Pad City (Omnisphere Bank) This is a collection of 40+ ambient, warm pad sounds for use in Omnisphere. If you are looking for a set of go-to pads that will sit great under almost any mix or playing style, then you should love this pack! These pads range in variety, but stay relatively Read More ». Have arturia collection and the keylab, greate combo, and parameters and knobs are automatically assigned! That means quick workflow. But i never fell for the analouge RAW sound. Recently tried omnisphere 2, i shit my pants the audio is so fat/wide and crisp. I think its better than prophet replicas. Home The Forums Music Computers spectrasonics atmosphere vs arturia v collection Gearslutz is part-supported by our visitors. When you buy products through links across our site, we may earn an affiliate commission. Discover 20+ world-class professional VST/AU music plugins like Serum, Arturia’s V Collection, iZotope’s Ozone, & Presonus’ Studio One DAW.
Stage-73 V is an electric piano of the 60s and 70s with a rounded sound and a long sound that Wurlitzer always stood out. This instrument was popular with almost every keyboard player, especially in jazz, funk and ballads. The Stage-73 V accurately models the Stage 73 and Suitcase 73 models, all to the clove, pickup, and circuitry, and also includes an optional tube amp and classic effects.
V Collection 6 includes new legendary tools:
The DX7 V offers you authentic emulation of the 1983 digital FM synthesizer, which has earned a place of honor in the history of keyboards. This software version expands the capabilities of the hardware brother with new waves of operators, advanced modulation, arpeggiator and built-in effects.
Buchla Easel is an emulation of an analog synthesizer from 1973 that changed the way we create sounds with parameters focused on performance, focusing on the art of being a recording artist.
Clavinet V is perhaps the most famous electric keyboard instrument of all time, a legacy of the keyboard everywhere. Released by Hohner in the mid-60s, its funky energetic timbre has given birth to countless genres over the decades, from disco and R&B to progressive rock and pop music.
CMI V is known primarily as the progenitor of all samplers and the innovative additive synthesizer. Fairlight CMI really redefined pop production after its release in 1979.
Analog Lab 4 incorporates the classic sounds of all V Collection instruments in one convenient interface, making it the ideal launch pad for your creativity. Thanks to a new browser, new modes and maximum keyboard integration with the controller, finding the perfect sound from over 6,000 presets has never been easier or fun.
Piano V 2 is the second version of the piano instrument based on physical modeling, which has undergone a complete revision. The new version contains three additional piano models, including Japanese Grand, Plucked Grand, Tack Upright, improved microphone positioning, improved equalizer and a new juicy stereo delay and compressor.
Cz v
Mellotron v
Pigments 2 is present in this bundle. In order to use it, you must first remove the previously installed one.
Release note :
Pigments 2 is also included in this bundle due to the Analog Lab 4
compatibility. Uninstall Pigments before installing this bundle.
Advanced features, such as a USB DJ controller, or a DJ mixer are not available. Virtual dj 8 free download for windows 8.1.
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on Jan 08, 2017 in Synths & Sound Design 4 comments
Any top-10 (OK, top-7) list of virtual synthesizers will, ultimately, be pretty subjective—everyone has their own idea of what constitutes the coolest toys when it comes to making and mangling sounds for creative musical ends. Even so, a list of the most impressive soft synths will certainly end up including some models that would be on anyone’s wish list, along with a few more personal choices—and this collection pretty much fits that bill.
I tried to limit this list in a few ways, to make it more manageable.. I omitted instruments that are primarily samplers—even though many of the models here utilize samples as source material, they don’t mainly present them as realistic simulations, but as raw material for heavy processing. I stuck to synths that are—at least to me—geared to playability, and not primarily sound design or scoring effects. And I selected synths that are not emulations of specific classic hardware models, but stand on their own merits.
So without further ado, here are a few of my choices for the slickest soft synths around.
1. Spectrasonics Omnisphere 2
Omnisphere is one of those synths that would probably turn up on just about everyone’s lists. Like many of the synths on this list, Omnisphere (currently Omnisphere 2) combines a number of synthesis techniques, including both oscillators and sample-based source material (including user waves), wavetable synthesis, granular synthesis, and even FM. Combining a huge factory library with comprehensive programming options, the emphasis is on heavily processed sounds of all kinds, from traditional synth tones to dense swirling pads to arpeggios to shifting, chugging, twinkling soundscapes and musical noises that defy easy description. Playability includes nice touches like the Orb, a real-time joystick-type controller that can simultaneously vary many parameters. Omnisphere has been around for quite a while, and has certainly earned its place on a list of soft synths that hardware synths really can’t touch.
Web:https://www.spectrasonics.net/products/omnisphere/index.php
Review: https://ask.audio/articles/review-spectrasonics-omnisphere-2
Courses:https://ask.audio/academy?nleloc=application/omnisphere
2. NI Massive
Native Instrument’s Massive is another synth that’s been around for years, and its popularity and sound pretty much guarantee it a place of honor. Massive follows a traditional subtractive synthesis models, with oscillators (three, plus noise) filters (two), amplifier, modulation (LFO), and effects. But there’s much more to it than that simple description suggests.
Massive’s oscillators are more than just simple analog waves (like sine, square, sawtooth, pulse, etc.)—they’re Wavetables, which, besides those basic, traditional shapes, also include a large collection of richer and more complex wavetables to use as raw material, making for a much wider range of possible sounds. The overall subtractive architecture is familiar enough to be accessible to most synthesists, yet it offers extra levels of flexibility, accessed from the various programming tabs in its center panel, like the Routing panel, where you can view and tweak the signal flow of the various modules that make up a patch, and the drag-and-drop icons that make quick work of building up modulation patching. All in all, Massive’s combination of accessibility and flexibility have made it a perennial favorite among synthesists of all stripes.
Web:https://www.native-instruments.com/en/products/komplete/synths/massive/
Courses:https://ask.audio/academy?nleloc=application/massive
3. NI Reaktor
Another entry from Native Instruments, Reaktor (currently Reaktor 6) is not really a synthesizer per se—it’s potentially every synthesizer you could imagine. Reaktor is an object-oriented programming environment for building your own synthesizers, and it’s one of the most powerful tools available for those who want ultimate control over their instruments. But you don’t have to have a degree in computer programming or DSP to use Reaktor—while it does contain a daunting set of under-the-hood tools and building blocks, it also comes with a large collection of finished synthesizer designs—called Ensembles—and there are many more available from third-parties as well. Some of these are available as separate, stand-alone synths, like NI’s own Razor (an additive synthesis design), Prism (a physical modeling instrument), and Monark (a well-regarded take on the venerable Minimoog).
But the real power of Reaktor comes when you go behind the front panel, and delve into the nuts & bolts of synthesizer architecture. Taking full advantage of everything the programming environment has to offer may require a significant investment in time and energy, but for inveterate tweakers it’s well worth the effort, going well beyond even the possibilities available from assembling your own modular synth in the real world.
Web:https://www.native-instruments.com/en/products/komplete/synths/reaktor-6/
Review: https://ask.audio/articles/review-native-instruments-reaktor-6
Courses:https://ask.audio/academy?nleloc=application/reaktor
4. Rob Papen Blue II
Rob Papen offers a number of popular synths (like Predator, Blade, and others, including the now-discontinued Albino), but Blue (currently Blue II) is probably the flagship of the line. Utilizing when Papen has dubbed “Cross-Fusion Synthesis”, Blue II combines FM, Phase Distortion, Waveshaping, and Subtractive synthesis, to create one highly flexible and great-sounding instrument. No less than six (!) oscillators freely combine all the different methods of sound generation in a single patch, and the graphic display makes routing and processing relatively easy for a synth with so many options. The helpful graphic displays include features like a straightforward FM matrix and graphic envelopes, along with sequencer and arpeggiator pages, and make Blue II’s programming power readily accessible, making it easy and efficient to tweak sounds—far easier than twiddling hardware knobs blindly.
5. LennarDigital Sylenth
LennarDigital’s Sylenth has become a very popular synth of late. Unlike many of the other entries in this list, it’s not a be-all, do-all, end-all design. Sylenth is designed to do one thing—emulate classic analog synthesis—but do it exceptionally well. It’s a dual-layered design, with 4 traditional analog-style oscillators, and a classic subtractive synthesis architecture. All the virtual analog components were carefully designed to offer the rich sound of their real analog counterparts, with alias-free oscillators, and filters that include nonlinear saturation and self-oscillation options.
A comprehensive set of envelopes, modulators, and an arpeggiator is rounded off with a full array of audio effects—everything needed to achieve classic analog synth sounds with the warmth and edge of traditional hardware synths is included. A faux LCD panel helps simplify programing the more tweaky features, and flexible routing allows for the two oscillator layers to cross-feed the filters, making for an especially nice bit of analog character in the digital world.
Web:https://www.lennardigital.com/sylenth1/
Course:https://ask.audio/academy?nleloc=topic/sylenth
6. U-he Diva & Zebra 2 & Repro 1
U-he is not a synth, it’s a company—actually it’s software developer Urs Heckmann (plus a small staff), who’s come up with many excellent and characterful synth designs (and effects plug-ins) over the years, many available as freeware (like the popular Zoyd synth, and the unique Triple Cheese, which uses comb filters to generate/process its sounds). The U-he line includes several synths, but I want to focus on two of the most popular, Zebra 2 and Diva.
Urs describes Zebra 2 as a “wireless modular synthesizer”—it incorporates many types of synthesis, including subtractive, additive, and FM, along with an equally versatile array of sound-modifying tools like comb-filtering (physical modeling), all freely patchable. Only modules used in a particular patch are displayed, reducing front-panel clutter, and making for a more streamlined interface. The centrally-located modulation grid offers an easy way to connect modules, and helps visualize signal flow in complex patches. And for performance, Zebra 2 offers a “Perform” panel, with no less than four (!) programmable and assignable X/Y pads.
Diva, on the other hand, is a more dedicated analog-style synth—it models the sounds of various classic analog synth modules. But two things set it apart from other analog modelers. The first is that you can mix and match components/modules inspired by different synths, creating hybrid designs. The other is Diva’s cutting-edge approach to modeling analog circuits, which promises to achieve the next level in emulating the nuance of real analog instruments. This faithfulness to real analog sound brings with it a bit of a CPU hit, but users have embraced it, so this Diva may be worth her high-maintenance ways.
Web:https://www.u-he.com
Review: https://ask.audio/articles/review-uhe-repro1
Course:https://ask.audio/academy?nleloc=application/uhe
7. AAS Modeling Collection
As I said earlier, lists like this typically combine entries that are on everyone’s top-10 with choices of a more personal nature—this last entry probably reflects my interest in physical modeling techniques. AAS—Applied Acoustic Systems—makes a variety of virtual instruments and “sound banks”—their instruments are based on physical modeling, which, as you may know, is a method of creating a sound by emulating the physical way that sound is created in the real world. So instead of traditional oscillators, filters, and envelopes, you’ll typically find exciters, disturbers, and resonators—simulations of different vibrating materials, striking, plucking, bowing, and blowing techniques, and complex resonances and timbral responses.
AAS’s modeling collection includes instruments that put these kinds of tools to use emulating strings, guitars, electric pianos, and even analog synth circuitry, but the two I want to mention are Tassman, a general-purpose physical-modeling synth, and their latest, Chromaphone, which is dedicated to modeling all manner of percussive sounds. Both of these instruments let the user synthesize highly realistic sounds, thanks to the physical modeling of acoustic sound-generation, but those sounds don’t necessarily have to emulate actual instruments—for more creative applications, the modeling tools can be used to create very acoustic-sounding instruments that don’t—maybe couldn’t—actually exist in the real world, but sound (and play) like they do! Physical modeling technology is widely used nowadays for processing—component modeling is routinely employed to simulate the circuit path of classic analog hardware, including synth components like oscillators and filters—and it’s gradually being applied more to instrument design.
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Wrap-up
Like with any list, there are plenty more great synths I could have included but didn’t, for one reason or another (I decided to limit my choices to separate plug-ins, eliminating obvious possibilities like Alchemy and Sculpture, which are exclusively built-in to Logic). I also didn't include any audio examples—how can you boil the characteristic sound of synths that each offer so much variety into a few seconds of one or two patches? There are plenty of audio demos available online, along with trial versions of most, if not all, of the synths I mentioned, and I think the best approach for anyone who wants to get to know what particular models are capable of is to go ahead and try ‘em out yourself—a little homework that, for once, should actually be a lot of fun!