Arturia V-Collection 5 Now With 50% Off

 This classic earned its reputation as a staple for clear, bright leads and basses a la “Frankenstein” and “Birdland”, as well as sound design such as the voice of R2D2.

Its semi-modular design featured normalized connections you can override with a patch cord, making it a great tool for learning and exploring synthesis.

Our version has tons of enhancements including polyphony, tracking generator modules, 1601 sequencer, and effects.

The king of electronic organs, the rich sounding B-3 has been a staple of jazz, gospel, hard rock and reggae and pro studios everywhere for over a half century.

Its electromagnetic tonewheel design gave it a beefy quality not found on later transistor organs.

Our faithful homage includes a rotary speaker, plus updates like drawbar modulation for new animated and syncopated effects. Roadies not required.

The CS-80 distinguished itself by having two complete synth sound paths in parallel, making for rich complex sonic textures.

Popularized by Toto, Vangelis, ELO, Stevie Wonder and many more, it brimmed with expressive controls rarely found elsewhere, including a ribbon controller and polyphonic aftertouch.

We’ve included a new generation of creative features like additional modulation routings, multi-timbral voicing, arpeggiator, stereo delay and preset morphing.

Much lighter than a Hammond and more cutting than a Vox, the Farfisa transistor organ helped drive the effervescent sounds of ‘60s Top 40 hits, and has kept bubbling up across upbeat genres ever since.

It also wanted to be a synth when it grew up, which we’ve aided by adding user-definable waveforms, DAW sync for tremolo/repeat, more envelope control and integral effects.

Managing to be simultaneously fat, airy and crystal clear, this classic polysynth was embraced by pop luminaries including Prince, Duran Duran, Moby, Depeche Mode and No Doubt.

Distinguishing features included switchable 2- and 4-pole filters, hi-pass filters, VCO sync, and an arpeggiator.

We’ve brought extra love by adding complex LFO combinations, modulation-targetable dynamic effects, and an advanced step sequencer that can be used as a mod source.

One of the finest analog poly synths ever made, the Matrix-12 featured the big brassy Oberheim sound, unparalleled matrix modulation, and unprecedented 15-mode filters.

Each of the 12 voices could have its own sound assigned to any MIDI channel and key range, making for massive layered textures and complex splits.

We’ve expanded it with even more mod sources and a 27 x 47 matrix.

Probably the most famous synth in history and sporting a discography to match, this monosynth is legendary for its fat, warm basses and leads owing to its three VCOs and 12db/octave filter.

We partnered with Bob Moog himself with massive updates including polyphony (a la Memorymoog), a dedicated modulation LFO, formant-based vocal filter, sample/hold, mod matrix, parameter automation, and preset morphing.

The Modular system started the entire electronic music revolution, and is still one of the most powerful and huge-sounding synths ever.

While largely used for diatonic music, its patch-cord based interface yielded complete sonic and creative flexibility.

We collaborated with Bob Moog to update this behemoth with programmable presets, polyphony, nine VCOs, three VCFs and rare original modules like the Bode 1620 frequency shifter.

Piano V delivers nine world-class pianos, ranging from 9’ concert grands to studio uprights to unconventional designs.

Rather than stacks of samples, they’re all based on our award-winning modeling technology applied to the sound and mechanics strings, hammers, sound boards, mic positions and more.

Finally there’s a piano emulation you’ll truly love playing. Just choose a preset and play, or customize your own.

Our Prophet V combines the famous Prophet 5 with the later Prophet VS. As the first fully programmable polyphonic synth, the subtractive-synthesis Prophet 5 was everywhere in the late ‘70s.

The VS used vector synthesis, with X-Y joystick morphing of its four oscillators each containing one of 128 different digital waveforms.

Our Hybrid mode adds matrix modulation to combine elements of both instruments for bold new sounds.

Tom Oberheim’s SEM was one of the first self-contained synth modules and was further distinguished by its unique 12db-octave multimode filter.

His first polyphonic synth was actually a combination of individual SEMs connected to a digital scanning keyboard which, since each voice was slightly different, gave it a very alive sound.

We’ve recreated an 8-voice version with added modulation matrix, noise, sub-oscillator, arpeggiator and portamento.

Before poly synths and samplers, the Solina string machine borrowed top-octave divider technology from organs and married it with animated choruses to deliver lush string textures that samples still can’t fully duplicate.

We set up both the original mono and later stereo versions, included the phaser effect popularized by Jean-Michel Jarre, added voices inspired by the Polymoog and more, making it the perfect pad machine.

The tine-based electric pianos of the ‘60s and ‘70s featured a rounder sound and longer sustain than the competing Wurlitzers.

They’ve been used by a who’s who of keyboardists, especially for jazz, funk and ballads. We modeled the Stage 73 and Suitcase 73 right down to the tines, pickups and circuitry.

We also included a tube amp model and classic effects for the full experience.

The Synclavier V faithfully recreates and improves on the elite digital synthesizer that powered some of the biggest hits and film soundtracks of the early ‘80s.

Its unique fusion of additive and FM synthesis technologies made for a stunningly diverse and unique universe of cinematic pads and evolving timbres.

We partnered with original designer Cameron Jones to faithfully build the only emulation ever attempted.

The transistor-based Vox Continental became popular in the ‘60s as a much lighter and affordable alternative to Hammonds.

While it borrowed Hammond’s drawbar construct, the Vox had an eager pop-ready sound all its own that was quickly adopted in the British Invasion and West Coast hit factories.

We’ve included the later Jennings J70 engine alternative, and added full drawbars, extra waveforms, rotary cabinet, and effects.

The reed-based electric piano was brighter and tighter that the Rhodes. Mellow at lower velocities, its voice took on a rougher bark as it was played harder.

This made it a favored electric piano for rock and funk players and another perfect example of something that our physical modeling nails that sampling can’t.

We’ve added lots of tone-shaping options, guitar amp, rotary speaker and effects boxes.