Hello, everyone! I’m Jooyoung Kim, an audio engineer and music producer.
Recently, Arturia released a virtual instrument called Synthx V, a recreation of the legendary Elka Synthex. Today, I’ll introduce this fascinating plugin and share my thoughts on its features.
As always, this post reflects my honest opinions, despite receiving a complimentary NFR (Not for Resale) copy from Plugin Boutique and Arturia.
Purchasing through the links in this post helps support my blog. I truly appreciate your support!
The Legacy of Elka Synthex
Elka Synthex, the inspiration behind Synthx V, was a polyphonic analog synthesizer produced by the Italian manufacturer Elka between 1981 and 1985. Designed by Mario Maggi, it stood out with several groundbreaking features for its time.
One of its key innovations was the use of digitally controlled oscillators (DCOs), ensuring stable tuning regardless of changes in temperature or humidity. It also featured a 4-track sequencer, dual-layering, and stereo voice separation.
Moreover, its joystick modulation control allowed for more expressive real-time performance compared to conventional pitch bend or modulation wheels. Users could assign custom sounds through layering and keyboard splitting, and later models even supported MIDI.
What’s in Synthx V?
Arturia’s Synthx V faithfully reproduces the original Elka Synthex’s functionalities while adding modern enhancements.
The plugin allows you to work with two layers (A & B) and up to 16 voices (8 per layer), creating a rich stereo image.
It also includes advanced features like a multi-arpeggio mode and step sequencer, which are perfect for crafting intricate patterns and pads.
Additionally, you can apply up to four effects from a selection of 17, offering even more versatility for sound design.
Should You Buy It Now?
While Synthx V isn’t currently part of Arturia’s Black Friday sale, it may become available in a future V Collection 11 bundle. So, unless you’re in a rush, it’s worth waiting for a sale.
Plus, Plugin Boutique is running a special promotion this month. With any purchase, you can choose a free bonus: Ujam Beatmaker VICE, Native Instruments Monark, or a mastering course.
Be sure to check out these offers if you’re planning to buy plugins this month. Thanks for reading, and see you in the next post!
Hello everyone, this is Jooyoung Kim, an audio engineer and music producer.
Today, I’d like to introduce you to one of Arturia’s flagship bundles: FX Collection 5.
This product was provided to me as an NFR (Not for Resale) through Plugin Boutique and Arturia. If you make a purchase through the links in this post, I’ll receive a small commission, which greatly supports my blog. Let’s dive in!
I remember using Arturia’s early audio interface, Audiofuse, back in the day. At the time, there wasn’t an FX Collection bundle—just a handful of hardware emulation plugins. Now that FX Collection has reached version 5, time really flies!
This bundle introduces 4 new plugins, bringing the total to 34 plugins. Let’s take a closer look at some of them.
Here’s one of my favorites: Arturia Chorus Dimension-D
Table of Features and Emulations
Name
Emulated Hardware
Key Features
Efx REFRACT
None
Adds distortion and harmonics for rich textures and tonal transformation.
Efx MOTIONS
None
Introduces dynamic movement and rhythmic variations, adding vibrancy to the mix.
Efx FRAGMENTS
None
Granular processing for rhythmic stutter effects and spatial soundscapes.
Bus EXCITER-104
Aphex Aural Exciter Model 104
Enhances brightness without noise; deepens vocals and kick drums.
Bus PEAK
None
Optimizes mix loudness, boosts low-end power, and controls drum energy.
Bus FORCE
None
A parallel processor combining filter, EQ, compression, and saturation.
Dist COLDFIRE
None
Dual-engine distortion ranging from warm tube saturation to aggressive clipping.
Dist TUBE-CULTURE
Thermionic Culture – THE CULTURE VULTURE
Adds analog warmth and natural distortion in a digital environment.
Dist OPAMP-21
Tech 21 SansAmp Guitar Pedal
Digital recreation of a guitar pedal, offering treble distortion and amp texture.
Tape MELLO-FI
Mellotron
Instantly adds vintage vibes and analog warmth.
EQ SITRAL-295
Siemens Sitral w295b
Smooth, musical curves with warm transistor character in a stereo EQ.
Pre 1973
Neve 1073
Modern recreation of the iconic ’70s British sound.
Pre TRIDA
Trident Audio A-Range Dual Channel Strip
Rare channel strip with musical EQ for unique tonal shaping.
Pre V76
Telefunken V76
Renowned for its ’60s pop sound, famously used in the “White Album.”
Rev LX-24
Lexicon 224
Realistic spatial depth with subtle shimmer textures.
Rev PLATE-140
EMT 140
Smooth and clear plate reverb, blending retro and modern elements.
Rev INTENSITY
None
Combines cinematic ambience with deep modulation for a fresh reverb type.
Rev SPRING-636
Hammond Spring Reverb
Captures the dynamic texture of real spring reverb.
Comp DIODE-609
Neve 33609
A crunchy compressor, perfect for drums.
Comp VCA-65
SSL G Series VCA Compressor
A powerful VCA compressor tailored for rhythm sections.
Comp TUBE-STA
Retro STA-Level
Vintage compressor ideal for bass and vocals.
Comp FET-76
Universal Audio 1176LN
Versatile studio compressor for all sound sources.
Filter MS-20
Korg MS-20
Adds dynamic filter sweeps and distinctive distortion.
Filter MINI
Moog MiniMoog
Features a 24dB/octave low-pass filter with modern enhancements.
Filter SEM
Oberheim SEM
Multi-purpose filter suitable for a variety of synth applications.
Filter M12
Oberheim Matrix-12
Offers advanced modulation and programmable control.
Rotary CLS-222
Dynacord CLS-222
Smooth stereo swirl with patterned spin effects.
Chorus DIMENSION-D
Roland Dimension D SDD-320
Simple 4-mode operation for warm stereo chorus.
Phaser BI-TRON
Mu-Tron Bi-Phase II
Complex routing with boutique phaser sounds.
Flanger BL-20
B.E.L Electronic BF-20 Stereo Flanger
Provides wide stereo imaging and intricate modulation.
Chorus JUN-6
Built-in Chorus from Roland Juno-6
Delivers rich stereo presence and analog warmth.
Delay TAPE-201
Roland RE-201 Space Echo
Combines tape saturation with metallic spring reverb.
Delay BRIGADE
Electro-Harmonix Deluxe Memory Man
Ambient delay with dark tones and enhanced feedback.
Delay ETERNITY
None
Rich modulation and texturing capabilities in a versatile delay unit.
The hardware replicas were identified by me, while the descriptions are from Arturia’s website. 😊
Among them, I frequently use the Pre 1973 (modeled after the Neve 1073), Comp Diode-609 (modeled after the Neve 33609/N), and Chorus Dimension-D (modeled after the Roland SDD-320). Other notable mentions include:
Comp VCA-65 (modeled after the dbx 165)
Chorus JUN-6 (from the Juno synthesizer)
Filter M12 (inspired by the Oberheim Matrix-12)
While I’d love to introduce every single plugin, covering all 34 of them in one post would be too much. Instead, I’ll share links to my previous reviews of FX Collection 2:
This post will focus on the new additions: Bus PEAK, Bus EXCITER-104, Efx MOTIONS, and Efx REFRACT. Among these, Bus PEAK and Bus EXCITER-104 caught my attention as an engineer.
Bus PEAK
Bus PEAK combines a Clipper, Limiter, and Tilt EQ into one plugin, designed for mastering.
It offers convenient features like True Peak and LUFS metering. One standout feature is Equal Loudness, which allows you to compare the sound before and after applying effects at the same perceived loudness.
Another noteworthy parameter is Character: increasing it enhances attack, while lowering it softens attack.
I’ve tested it on a project, and it’s fantastic. It’s transparent yet effective, thanks to its built-in clipper. You won’t need to add a separate clipper plugin anymore.
You can even adjust the Clipper Knee, shaping how hard or soft the clipping sounds.
Previously, I relied on Fabfilter Pro-L2 for loudness boosting, but now I’m seriously considering using Bus PEAK for all my future projects. It’s that good.
For users of FX Collection 4, the upgrade decision might be tough, but if you have version 3 or older, I’d say the new additions make it worth it. Even as standalone plugins, I highly recommend them.
Bus Exciter-104
Bus Exciter-104 is a faithful recreation of the Aphex Aural Exciter Model 104, a type of saturator designed to enhance audio clarity and presence.
Recently, I’ve been exploring various saturators and enhancers, and this plugin has effectively addressed many of my concerns.
The plugin operates in two distinct sections: Big Bass, which handles low frequencies, and Exciter, which focuses on higher frequencies.
In the above image, the settings show some Drive applied in the Big Bass section and Mix in the Exciter section, though these aren’t the default values.
Big Bass adjusts the low-end frequencies by controlling both volume and drive.
Exciter generates additional harmonics slightly below the high-frequency range, enriching the sound with artificial overtones.
By carefully tweaking these parameters, you can achieve a well-balanced mix without overwhelming either the bass or high-frequency regions.
The results are immediately noticeable, and I imagine this would be particularly effective for producers working with drum loops or aiming for a more pronounced, textured sound.
Efx REFRACT
Efx REFRACT allows you to clone the original source up to eight times, expanding the stereo image through modulation.
The cloned signals are then passed through five different effects: Band Pass, Comb Filter, Bit Crusher, Distortion, and Harmonizer, enabling you to craft unique and experimental soundscapes.
This plugin is more suited for creative uses in the composition phase than traditional mixing. It works well not only on vocals but also on lead instruments and even background elements.
For genres like instrumental or experimental music, Efx REFRACT can truly shine.
Efx MOTIONS
Efx MOTIONS is a multi-effects plugin centered around Filter, Noise, Volume, Pan, and Drive.
Its design reminded me of Cableguys’ ShaperBox, suggesting a direct competition between the two.
The plugin offers a variety of control options, including Envelope Sequencers, Euclidean patterns, Transient detection, and MIDI triggers. It even includes advanced features like macros, sequencers, and an envelope follower, making it highly versatile for both sound design and mixing.
With additional functionalities like Repeat/FX for loop-based effects, reverse playback, and pitch modulation, it feels like a hybrid between a sampler and a virtual synth.
For someone like me who frequently uses ShaperBox in mixes, Efx MOTIONS feels even more flexible. I’m excited to explore its full potential in upcoming projects.
Arturia FX plugins can be resource-intensive, but their unique sound often makes them indispensable in my mixing workflow. With modern hardware, especially on Macs, these plugins run smoothly.
If you’ve been curious about Arturia’s mixing and mastering tools, this sale is a great opportunity. Even if you own previous bundles, the new Bus PEAK alone might justify the upgrade.
Hello, I’m Jooyoung Kim, an engineer and music producer.
Arturia is currently running their Black Friday sale, and I’ve been provided with licenses for the V Collection X, FX Collection 5, and Synthi V NFR for review purposes by Plugin Boutique and Arturia.
Over the next few posts, I’ll be reviewing these plugins in detail. As always, these reviews are based solely on my own opinions, and I haven’t received any scripts or directives. If you make purchases through the links provided, I’ll receive a small commission.
The V Collection is Arturia’s flagship virtual instrument bundle, featuring a total of 39 instruments. Here’s a breakdown of some key instruments included:
Analog Synthesizers
Virtual Instrument
Real Instrument Replicated
Description
Acid V
Roland TB-303
A bass synthesizer known as a pioneer in rave music.
Mini V 4
Moog Minimoog Model D
Classic monophonic synth famous for its warm bass and lead sounds.
KORG MS-20 V
Korg MS-20
Synth offering intense and aggressive analog sounds.
Jun-6 V
Roland Juno-6 / Juno-60
Popular DCO-based polyphonic synth.
OP-Xa V
Oberheim OB-Xa
Iconic ‘Jump’ synth, a powerful 1980s classic.
Prophet-5 V
Sequential Prophet-5
A legendary polyphonic synth known for its warm, creamy sound.
CS-80 V
Yamaha CS-80
A renowned Japanese synth, ideal for cinematic sounds in film scores.
Synthi V
EMS Synthi AKS
British modular synth with a unique pin-patch matrix.
Jup-8 V
Roland Jupiter-8
Popular 1980s polyphonic synth for pop and synth-pop.
Buchla Easel V
Buchla Music Easel
Modular synth ideal for experimental sound design.
Modular V
Moog Modular System
A massive modular synth that revolutionized electronic music.
Vocoder V
Roland VP-330 Vocoder Plus
16-band vocoder famously used by Daft Punk.
Matrix-12 V
Oberheim Matrix-12
Polyphonic synth known for its matrix modulation and filters.
SEM V
Oberheim SEM
A polyphonic module loved by sound designers.
ARP 2600 V
ARP 2600
Semi-modular synth providing versatile effects and sound textures.
Digital synth used in 1980s hits and film soundtracks.
Prophet-VS V
Sequential Prophet VS
A pioneering vector synth.
CMI V
Fairlight CMI
A trailblazer in sampling and additive synthesis.
Keyboards & Organs
Virtual Instrument
Real Instrument Replicated
Description
Mellotron V
Mellotron
Early orchestral keyboard using tape samples.
B-3 V
Hammond B-3
Electronic organ used in jazz, rock, and more.
Farfisa V
Farfisa Compact
Transistor organ featured in 1960s hits.
Solina V
ARP Solina String Ensemble
A blend of string synth and organ sounds.
VOX Continental V
VOX Continental
Transistor organ loved during the ‘British Invasion.’
Clavinet V
Hohner Clavinet
Electric keyboard instrument with a funky tone.
Acoustic & Electric Pianos
Virtual Instrument
Real Instrument Replicated
Description
CP-70 V
Yamaha CP-70
Electro-acoustic piano popular in the 1970s-80s.
Wurli V 3
Wurlitzer 200A
Electric piano favored in funk and rock.
Piano V
Various Piano Models
Includes everything from German grand pianos to modern designs.
Stage-73 V
Fender Rhodes
Legendary electric piano beloved on stage and in studios.
MiniFreak V
MiniFreak V is a virtual instrument based on Arturia’s hardware synthesizer, MiniFreak.
This synthesizer features a straightforward setup with two oscillators, a filter, and built-in effects.
Of course, it comes equipped with essential synthesizer functions like LFOs, macros, and envelopes.
Though it may not be a common tool for songwriting, MiniFreak V also includes a built-in sequencer, allowing for versatile performances using just this one instrument.
Since the original MiniFreak hardware is already a digital emulation, the sound difference between this virtual instrument and its hardware counterpart isn’t particularly dramatic. (There are differences, but they’re minor enough to be compensated for with other effects.)
Personally, I find MiniFreak V excels in producing bass and lead sounds. While it’s versatile enough for various uses, it offers a more modern and refined sound compared to the vintage warmth of something like the Mini Moog.
Acid V
Acid V is a virtual recreation of the iconic Roland TB-303.
The Roland TB-303, released in 1981, was initially designed as a bass synthesizer to replace bass guitars. However, its artificial sound failed to satisfy early users, leading to its discontinuation.
The discontinued model found new life in the hands of the Chicago-based electronic music group Phuture, who repurposed it for a groundbreaking musical direction. Their track “Acid Tracks,” released in 1987, became the cornerstone of the acid genre, eventually sparking the global acid house movement.
In recent years, Behringer has released its own clone, and Roland followed up with the TB-03, a modern take on the original.
Using Acid V is incredibly straightforward:
Select the waveform (saw or square).
Adjust the filter.
Tweak the envelope.
Set the sub-oscillator.
Modify the vibrato.
Control the distortion.
Configure the sequence and pattern.
That’s all there is to it.
This instrument is perfect for creating bass lines with a pattern-focused approach, staying true to the TB-303’s legacy.
With 14 types of distortion available, Acid V is also well-suited for sound design, offering plenty of flexibility for crafting unique tones.
CP-70 V
CP-70 V is a virtual instrument that faithfully recreates Yamaha’s electric piano, the CP-70.
Unlike digital pianos, electric pianos amplify the sound of real acoustic strings through an electrical circuit.
The CP-70 works by striking strings, much like a traditional piano, but it uses piezo pickups (similar to those on acoustic guitars) to amplify the sound. Because of this, it needs regular tuning like an acoustic piano, and it offers a unique tonal character.
In its original form, electric pianos like the CP-70 were typically connected to amplifiers, and effects pedals were often used alongside them. As a result, the sound output was mono.
However, by applying effects like chorus, phaser, flanger, or auto-pan, you can achieve a stereo sound that adds more depth and character to your tracks. Personally, when I use electric pianos, I frequently apply modulation effects or auto-pan to enhance the sound.
Compared to electric pianos like the Fender Rhodes or Wurlitzer, the CP-70 delivers a slightly brighter, more percussive tone. It’s a versatile instrument suitable for various musical styles.
Augmented Series
The word Augment means “to increase.”
As the name and UI suggest, the Augmented series by Arturia is a collection of original virtual instruments that layer multiple sound sources.
If I recall correctly, they previously offered the String instrument for free, and now there are six instruments in the series! The latest additions include Brass, Woodwinds, and Grand Piano.
The UI across these instruments is similar, so I’ll cover them all in one go.
Each instrument features two samplers and two synthesizers, which can be freely assigned to Layers A and B. The synthesizer section offers five synthesis types: Analog, Granular, Harmonic, Simplified, and Wavetable. The sampler section also provides a wide variety of sounds, allowing for rich sound design through layering and synthesis.
These instruments are especially useful when you want the sound of a particular instrument but find that a fully recorded virtual instrument doesn’t quite fit your track.
Even if you’re not deeply versed in synthesis techniques, the straightforward UI lets you craft diverse tones with just a few knob adjustments. It’s a well-designed virtual instrument that caters to both beginners and advanced users.
Hello! I’m Jooyoung Kim, a mixing engineer and music producer.
Today’s topic is tape saturation. This content is based on my Korean book, Basics of Mixing.
Let’s get started!
Before CDs, tape was the main storage medium, recording sound through magnetic properties. There was even digital tape during the transition from analog to digital. Tape’s unique magnetic characteristics create distinct audio qualities.
Hysteresis Loop
Do you remember playing with magnets and needles as a kid? If you rubbed a needle with a magnet and then removed it, the needle retained some of the magnet’s properties. This phenomenon, where output doesn’t completely disappear even when the input stops, is called hysteresis.
In tape recording, hysteresis causes non-linear recording, meaning quiet sounds are recorded even quieter. This is a fascinating trait unique to tape.
Additionally, because quiet sounds are recorded even quieter, a high-frequency tone (bias) is added, increasing sound pressure to prevent this quieting effect.
The Tape Head and Other Characteristics
The tape head has a very narrow gap. Sounds with wavelengths smaller than this gap (i.e., higher frequencies) cannot be recorded accurately, causing high frequencies to roll off.
Over time, other tape-specific effects emerge: pitch variation due to tape stretch, wow and flutter noise from tape movement and dust, among others.
All these factors create tape’s unique saturation characteristics.
This is why tape plugins often include frequency response, harmonic distortion, and other distinctive features. Some plugins even emphasize high frequencies unexpectedly.
So why use tape? Simply put, it sounds good! Understanding these characteristics also helps in adjusting plugin parameters effectively.
