Arturia V Collection 9: Arturia's 2022 virtual instrument collection

Grigory Liadov

Arturia regularly updates V Collection. The ninth version, released in 2022, adds KORG MS-20 V, SQ80 V, Augmented STRINGS, and Augmented VOICES. The library now contains 32 distinct instruments with detailed settings and control options. CS-80 V, Prophet-5 V, and Prophet-VS V have been revised, while Piano V has been reworked.

Most V Collection instruments model legendary vintage keyboards. KORG MS-20 V and SQ80 V continue this tradition, recreating classic hardware. Augmented STRINGS and VOICES instead offer modern hybrid instruments with extensive morphing. We will look at these four additions.

The original review emphasizes modeling, with very little use of samples, as central to Arturia's virtual instruments. This provides expressive sounds and unusual settings beyond conventional sample playback. Arturia aims to reproduce the original electrical circuits and mechanisms in detail. Modern additions include presets, automation, extra modulation, and effects. Each instrument runs as a VST, AU, or AAX plug-in, or standalone.

KORG MS-20 V

KORG MS-20 V models the legendary KORG MS-20, first released in 1978. This widely used monophonic semi-modular synthesizer has a recognizable aggressive sound. Artists using MS-20 include Daft Punk, Autechre, The Chemical Brothers, Depeche Mode, The Prodigy, and Aphex Twin. MS-20 remains relevant at the time of this review, and hardware production has resumed.

The software synthesizer Arturia KORG MS-20 V recreates the hardware's functions. Like MS-20, it has two oscillators with slightly different controls and waveforms. Oscillator one offers triangle, sawtooth, white noise, and a pulse wave with continuously variable width. Oscillator two has sawtooth, square and narrow pulse waves, continuous pitch adjustment, and ring modulation. Both oscillators have octave-range switches and separate level controls.

Modulation comes from an LFO, two ADSR envelopes, and external sources available through the virtual patch panel. High-pass and low-pass filters work in series, with characteristic distortion. Two filter designs appeared in different versions of the synthesizer , with different resonance behavior. The software offers both. However, MK1 algorithms use much more CPU, especially in polyphonic mode.

Arturia adds velocity control of filter cutoff and an Amplifier Modulation control for the overall modulation amount. Analog-style instability can also be introduced. Settings vary oscillator pitch, pulse width, envelopes, filters, and modulation stability, adding life or a rougher character.

Like the hardware, MS-20 V has a patch panel for signal routing and extra control or modulation. A signal-flow diagram runs from oscillators to output, with branches available as modulation and control sources. Compatible connections light up, making routing clear and encouraging experiments. One source can feed several destinations through virtual cables.

A built-in sequencer and effects section are important additions.

The sequencer creates 12-step sequences on three separate channels. It resembles an analog modular sequencer, with independent voltage values for each channel's steps. Its functions are conventional. Virtual cables assign sequence outputs to synthesizer parameters. Without extra patching, its trigger signal drives the envelopes to play notes.

Four effects slots work in series or in parallel as two effects per bus. There are 16 effects covering spatial, frequency, and dynamics processing.

KORG MS-20 V includes more than 200 presets organized by tags. A demo and sound examples are available on the official page of the manufacturer.

SQ80 V

The next instrument models the Ensoniq SQ-80, a late-1980s keyboard and one of the early workstations. SQ-80 was an 8-voice multitimbral synthesizer with a MIDI sequencer holding up to 2000 notes. Its sound was rich and distinctive. Arturia says SQ80 V recreates all the details of the original sound and adds new features.

SQ-80 has a fairly simple structure: three digital oscillators, four envelope types, three LFOs, an analog filter, and an amplifier. Modern additions include new oscillator waveforms and envelopes, an arpeggiator, 16-voice polyphony, effects, expanded modulation, and MPE controller support.

SQ80 V includes the original sound library plus more than a hundred additional signals, waveforms, and samples. These support a wide range of sounds, from soft classic pads to sharp percussion.

A detailed graphical view makes every synthesizer parameter easier to edit.

The filter models the CEM3379 chip's resonant analog low-pass design, with a 24 dB/octave slope. A DCA stage can add harmonic saturation.

The original review describes two envelopes in the hardware and four in Arturia's version. The additional types are DADSR, with a delay before the cycle, and MSEG , whose shape can be drawn by hand.

The SQ-80 modulation mixer combines two sources to produce complex shapes, clearly shown on screen.

Assignments are convenient too. Two dimmed controls beside each parameter open a list of modulation sources. Once a source is selected, a scale beside the parameter displays changes in real time. The modulation depth and range are immediately visible.

As on many recent Arturia instruments, four effect slots work in series or in parallel as two effects per bus. 15 effects cover spatial, frequency, and dynamics processing. Each has graphical controls and full settings. Some parameters can also be modulated.

SQ80 V includes more than two hundred presets organized by tags. A full demo and sound examples are available on the page of the manufacturer.

Augmented STRINGS

The next two instruments differ from Arturia's other products. They combine sampling and synthesis with smooth sound transformation. The main focus is morphing, rather than deep synthesizer or sampler editing.

Augmented STRINGS uses string samples. Arturia recorded an ensemble of 3 double basses, 3 cellos, 4 violas, and 8 violins. High-quality equipment and an acoustically prepared room give confidence in the recordings.

The interface is excellent: a light design, good ergonomics, and simple, well-planned controls without too many buttons or knobs.

Main-page macros change the sound texture. Four lower knobs control effects. Reverb and delay are fixed master effects; FX A and FX B allow two selectable effects. Color, Time, and Motion each control groups of six assigned parameters. The large Morph knob can control 12.

Augmented STRINGS has Layer A and Layer B, with smooth transitions between them. The basic morphing is a level crossfade. Combined with extensive macro control, however, it can produce long sound transformations.

Each layer has two slots for samplers or synthesizers. Settings are limited but useful. The sampler mainly adjusts ADSR. Synthesis options are Analog, Granular, Harmonic, and Wavetable. Parameters vary with the method, but remain few in number.

Layers can use six filter types in Augmented STRINGS. SEM, Multimode, and Surgeon are resonant low-pass filters. Comb and Phaser provide comb-filter-style processing, while Formant adds a formant filter.

Some parameters can be modulated by sources placed on a dedicated tab.

Two LFOs, two randomizers, and two Function generators are available. Function waveforms can be selected and edited. Velocity, Aftertouch, Pitch, and Modulation controls can also act as sources.

Augmented STRINGS includes an arpeggiator/sequencer that plays notes or chords, with per-step volume and duration editing.

Each layer can use two effects. These familiar Arturia effects include two filters, compression, distortion, bit crushing, two choruses, stereo widening, phaser, flanger, reverb, and three delays. Graphical controls are provided, and modulation sources can change effect parameters dynamically.

Overall, the instrument is interesting, with an original, surprisingly varied sound. We strongly recommend installing the demo and trying the controls yourself. Augmented STRINGS sound examples are available on the official page of the manufacturer.

Augmented VOICES

Augmented VOICES follows Augmented STRINGS, replacing string samples with voices.

Six singers were recorded for Augmented VOICES in German studios, using Heritage Audio equipment and Neumann microphones. The small library mainly contains sustained vowel sounds on single notes. This is enough to create smooth atmospheric layers with interesting transformations.

Augmented VOICES has the same controls as STRINGS and supports similar sound processing. Many presets are included, ready for projects or as starting points for new sounds. A demo and VOICES sound examples are available on the website of the manufacturer.

Conclusions

As usual, the V Collection update is interesting. KORG MS-20 V and SQ80 V naturally extend its vintage direction. Augmented STRINGS and VOICES are a welcome surprise: the collection needed instruments like these. We hope Arturia continues both recreating classics and developing new ideas.

Note. This is an adapted machine translation into English. It follows the “In simple terms” approach. Read the original article at https://prosound.ixbt.com/soft/arturia-vcollection9.shtml.