In the end, the star of V Collection 6 is undoubtedly the Buchla Easel V. Thankfully, there's a large library of presets (hundreds more than the 64 of the original) for those who just want to play. They also kept to the somewhat clinical look and feel of the original (including its complexities), which makes for a higher learning curve than some would like. To attempt to infuse some of the original instrument's character into the DX7 V, Arturia added some subtle configurable parameters such as the 12-bit DAC/analogue companding circuitry from Yamaha's original hardware.
There's a deep mod matrix that lets you control nearly every parameter of the synth using MIDI sources, two LFOs, a sequencer, envelopes and macro controls. Modulation must have been at the top of the list on Arturia's whiteboard as well. The DX7 V has six operators, each with independent feedback controls and a choice of 25 different waveforms, which include the DX classics, a selection of the TX81Z waveforms and others besides. During my tests, it became clear that Arturia invested a considerable amount of time in adding bells and whistles to the DX7 foundation. Everyone should be familiar with the game-changing digital synth, whether from hearing it in basically every pop song from the '80s or having seen the modern remakes from Korg and Yamaha. So the CMI V's value for many may be more nostalgic than utilitarian.Īnother welcome addition is the DX7 V, a recreation of (you guessed it) the Yamaha DX7 FM synthesiser. With all the advances in UI and UX design over the past 30-odd years, modern samplers present a much more user-friendly experience. While custom samples can be loaded into CMI V, part of the instrument's charm lies in using the original samples and seeing what you can do with them. Additionally, there's a useful mixer with mute/solo/pan/volume controls, which also allows you to choose from a selection of 24 effects.
Arturia incorporate many of the best parts of the original (including all of the original factory samples) but pull the Fairlight into the future, with modern 44.1 kHz / 16 bit sampling, full MIDI compatibility, sequencer control and an expanded number of instrument slots (ten). It was a cutting-edge tool for its time and was eagerly adopted by the likes of Art Of Noise, Stevie Wonder and Peter Gabriel. The Fairlight found fame in part through Herbie Hancock's cameo on Sesame Street. This time around, however, they've added some revered synthesisers that will have many electronic musicians excited.įirst up is CMI V, which recreates the legendary Fairlight CMI, a groundbreaking digital sampler, synthesiser and audio workstation produced in 1979. Last year they released the fifth iteration of the collection, which shifted towards the non-electronic side of the musical spectrum with organs and pianos among the new inclusions.
While other development houses tend to bounce between classic and modern designs, Arturia's vision has remained steadfast: recreating vintage hardware in software form, with heavy concentration on the details.