Arturia V Collection X: Introduction and Black Friday Sale (50% Off Until 12/10)

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.

Let’s dive in!

Purchase V Collection X at Plugin Boutique

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 InstrumentReal Instrument ReplicatedDescription
Acid VRoland TB-303A bass synthesizer known as a pioneer in rave music.
Mini V 4Moog Minimoog Model DClassic monophonic synth famous for its warm bass and lead sounds.
KORG MS-20 VKorg MS-20Synth offering intense and aggressive analog sounds.
Jun-6 VRoland Juno-6 / Juno-60Popular DCO-based polyphonic synth.
OP-Xa VOberheim OB-XaIconic ‘Jump’ synth, a powerful 1980s classic.
Prophet-5 VSequential Prophet-5A legendary polyphonic synth known for its warm, creamy sound.
CS-80 VYamaha CS-80A renowned Japanese synth, ideal for cinematic sounds in film scores.
Synthi VEMS Synthi AKSBritish modular synth with a unique pin-patch matrix.
Jup-8 VRoland Jupiter-8Popular 1980s polyphonic synth for pop and synth-pop.
Buchla Easel VBuchla Music EaselModular synth ideal for experimental sound design.
Modular VMoog Modular SystemA massive modular synth that revolutionized electronic music.
Vocoder VRoland VP-330 Vocoder Plus16-band vocoder famously used by Daft Punk.
Matrix-12 VOberheim Matrix-12Polyphonic synth known for its matrix modulation and filters.
SEM VOberheim SEMA polyphonic module loved by sound designers.
ARP 2600 VARP 2600Semi-modular synth providing versatile effects and sound textures.

Digital Synthesizers & Samplers

Virtual InstrumentReal Instrument ReplicatedDescription
MiniFreak VArturia MiniFreak (Hardware-Based)Combines digital synthesis with analog filters.
SQ80 VEnsoniq SQ-80Hybrid ‘Crosswave’ synth offering complex textures.
Emulator II VE-mu Emulator IIMultitimbral sampler popular in the 1980s.
CZ VCasio CZ-101 / CZ-1000Synth with sharp phase distortion sounds.
DX7 VYamaha DX7Revolutionary FM synth of the 1980s.
Synclavier VNew England Digital SynclavierDigital synth used in 1980s hits and film soundtracks.
Prophet-VS VSequential Prophet VSA pioneering vector synth.
CMI VFairlight CMIA trailblazer in sampling and additive synthesis.

Keyboards & Organs

Virtual InstrumentReal Instrument ReplicatedDescription
Mellotron VMellotronEarly orchestral keyboard using tape samples.
B-3 VHammond B-3Electronic organ used in jazz, rock, and more.
Farfisa VFarfisa CompactTransistor organ featured in 1960s hits.
Solina VARP Solina String EnsembleA blend of string synth and organ sounds.
VOX Continental VVOX ContinentalTransistor organ loved during the ‘British Invasion.’
Clavinet VHohner ClavinetElectric keyboard instrument with a funky tone.

Acoustic & Electric Pianos

Virtual InstrumentReal Instrument ReplicatedDescription
CP-70 VYamaha CP-70Electro-acoustic piano popular in the 1970s-80s.
Wurli V 3Wurlitzer 200AElectric piano favored in funk and rock.
Piano VVarious Piano ModelsIncludes everything from German grand pianos to modern designs.
Stage-73 VFender RhodesLegendary 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:

  1. Select the waveform (saw or square).
  2. Adjust the filter.
  3. Tweak the envelope.
  4. Set the sub-oscillator.
  5. Modify the vibrato.
  6. Control the distortion.
  7. 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.

Purchase V Collection X at Plugin Boutique

Arturia is one of the most prominent companies in the field of synthesizer recreations.

If you’re considering studying synthesis or purchasing a bundle of synths this Black Friday, Arturia’s offerings are an easy recommendation.

This month, if you purchase from Plugin Boutique, you’ll also get:

  1. Iconic Analog Mono Synth, a recreation of Monark’s Mini Moog.
  2. Access to a professional mastering course.

Make sure to claim these perks if you’re buying from Plugin Boutique!

Stay tuned for the next post, where I’ll dive into Arturia’s FX Bundle~ 😊

Basics of Mixing – 9.4 Tape Saturation

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.

Mixing Basics – 9.1 Harmonics and Saturation – I previously discussed how non-linear outputs inevitably produce harmonic distortion.

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.

That’s all for today. See you in the next post!

Baby Audio Transit 2 Sale (~12/31)

Hello! I’m Jooyoung Kim, an audio engineer and music producer.

Today, I’ll introduce “Transit 2,” a plugin developed in collaboration between Canadian musician Andrew Huang, known widely on YouTube, and Baby Audio.

This is Andrew Huang!

As always, I received this plugin from Plugin Boutique in an NFR (Not For Resale) format. The views in this post are entirely my own.

Let’s dive in!

Purchase Transit 2 at Plugin Boutique

(If you purchase the Transit 2 plugin through the link above or below, a small commission will help support my blog!)

Transit 2 is an all-in-one plugin offering 28 effects.

Typically, plugins like this are less about mixing and more useful for adding dynamics during composition with tools like LFO and macros. Think of it as a way to add energy to your track.

Transit 2 features six modulation options: Macro, LFO, Audio Follower, Sidechain, Gate, and Sequencer, allowing you to alter effect parameters based on your chosen setting.

Rather than going through each of the 28 effects, let’s explore how you might best use Transit 2 in your workflow.

Clicking the dice icon in the top right corner…

…changes only the parameters for the top three effects, while the bottom four effects are fully randomized, including the effect type itself.

The dot in the center acts as a switch to toggle modulation on and off for parameters like Macro. Blue indicates a positive direction, red a negative direction, and yellow is a fixed, non-modulated value.

There are also numerous presets.

So, how should you use it? There are two main approaches:

  1. If you’re familiar with each effect and know the exact sound you want, you can create a setup from scratch. It’s a bit time-consuming but allows for precise customization.
  2. If you’re looking for something fresh, start by exploring presets. Once you find a tone you like, place the core effects in the top row and let the randomization feature introduce a bit of unpredictability, like a modular synth. This approach takes some time too.

Personally, I find that applying modulation effects and using the Follow or Sidechain functions creates a groove that blends well with other sounds.

Without any effects applied, there’s some basic saturation, and the volume decreases.

Interestingly, bypassing the plugin creates a unique harmonic distortion.

The plugin is well-optimized, with low latency considering the effects it offers. Testing a few presets, I noticed almost no channel latency, with the highest around 1.4 ms.

With a plugin like this, you can achieve various effects, making it a versatile addition.

I tried it with different instruments like piano, bass, guitar, and vocals. Personally, it worked exceptionally well with recorded electric bass.

Additionally, you can create interesting sounds by experimenting with samples from places like Splice.

Find out Solina and Orange Vocoder at Plugin Boutique

This month, if you purchase a plugin from Plugin Boutique, you can get AIR Music Technology’s Solina virtual instrument or Zynaptiq’s ORANGE VOCODER NANO for free.

With Black Friday approaching and Transit 2 on sale until the end of the year, it might be worth keeping an eye on it and grabbing it during the sale.

See you in the next post!

Basics of Mixing – 9.3 Vinyl Saturation

Hello! I’m Jooyoung Kim, an audio engineer and singer-songwriter.

Today, I want to dive into the topic of vinyl saturation. Let’s get started!

The history of the LP (vinyl) began with Edison’s invention of the phonograph. In its earliest form, audio was recorded and played back on cylindrical records.

After the phonograph, vinyl records in disk format emerged as a new storage medium. Edison initially resisted the disk format, as the playback speed varied from the outer to inner edge, affecting the sound quality. Instead, he continued to advocate for the cylindrical format.

However, vinyl disks became the standard due to their better storage capabilities, cost-efficiency, and convenience—qualities the market prioritized over audio fidelity. In retrospect, the sound quality differences weren’t that significant.

Vinyl records come in various sizes based on rpm (revolutions per minute), with the 12-inch disk being the most common.

Vinyl’s sound characteristics are primarily defined by two key elements:

  1. Stereo limitations and lower frequency cutoff
  2. High-frequency roll-off

1) Stereo Limitations and Low-End Cutoff

Stereo imaging in the low end results in rapid vertical movement of the groove, causing the cartridge to move intensely. To avoid tracking errors, bass was typically kept in mono. Similarly, very low frequencies can cause excessive lateral movement in the groove, so bass roll-off was often applied during production.

2) High-Frequency Roll-Off

https://www.vinylengine.com/turntable_forum/viewtopic.php?t=132699

Excessive high frequencies can cause the cartridge to vibrate at short intervals, leading to overheating and potential noise and distortion. As a result, high-frequency roll-off was applied during production. Due to cartridge limitations, ultra-high frequencies (15kHz and above, depending on the cartridge) are also naturally rolled off.

Other characteristics include noise caused by dust in the grooves, wow and flutter from inconsistent turntable speeds, and crosstalk between channels due to the physical reading of the sound. Harmonic distortion can also be introduced due to the nonlinear interaction between the needle and groove.

All these factors together create vinyl’s unique saturation. Today, there are vinyl emulation plugins designed to reproduce these characteristics.

The Abbey Road Vinyl plugin by WAVES is a notable example. Taking a closer look…

As expected, it adds quite a bit of distortion.

Each turntable and cartridge setup yields unique sonic characteristics.

As I always say, if you like the sound a vinyl plugin adds to your mix, that’s all that matters! But as an audio professional, it’s essential to understand the background behind these effects. This knowledge helps when approaching retro-style mixing requests without getting lost in the process.

Maybe I went on a bit too long here… Haha.

I’ll wrap up for today. See you in the next post!