Arturia collaborated directly with Cameron Jones, one of the three founding designers of the Synclavier. Most of Arturia's soft synths are digital emulations of analog synths using the company's TAE (True Analog Emulation) technology, whereas Synclavier V is based on what was a digital synth to begin with. But even for Arturia, there are a few firsts here. (The other new instruments in the collection are the Piano, B3, Rhodes, and Farfisa V instruments.) As usual, Arturia has done a great job of porting the hardware synth into the virtual environment.
#SUBATOMIC SOFTWARE AUDULUS UPDATE#
With the update to their V Collection, Arturia has added several new instruments, including Synclavier V. For more on these topics, see my reviews of Subatomic Software Audulus, Herbert Janßen's "SY Programming" technical paper, and Mark Vail's The Synthesizer book. I'm not going to get too in-depth here into FM or additive synthesis. With sampling being so commonplace today, the novelty of sample-based synthesis has worn off, and instead, the Synclavier's algorithmic synthesis capabilities are what intrigues vintage synthesizer fans now. Although the Synclavier ended up being best known for its sampling abilities, it also had very advanced additive and FM synthesis capabilities (and was one of the first multitrack hard-disk recorders too). While The Beast is capable of playing back a wide variety of sounds and has some degree of programmability, The Beast is essentially a rompler.
In 2014, I reviewed UVI The Beast, a sample-based virtual instrument recreating the sounds of the infamous and very expensive Synclavier workstation, which New England Digital Corporation first released in the '70s and continued to manufacture (and update) into the '90s.
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