Arturia V Collection X is one of the biggest updates to the virtual synth library in quite some time. Six new instruments have been added (though, most have been available separately before) and two have been rebuilt from the ground up. That brings the grand total number of instruments in V Collection to 38, and over the last few years at least six of those have been completely revamped with dramatic improvements.

MiniFreak V, Acid V, Augmented Brass and Augmented Grand Piano were all available previously as standalone instruments, but now they are joining the V Collection proper. Two completely new instruments are also entering the fold. Augmented Woodwinds and CP-70 V. Augmented Woodwinds is, as you might have guessed, a take on Arturia’s Augmented series, except here the synths are paired with woodwind samples. CP-70 V is an emulation of Yamaha’s electric piano from the late ‘70s and early ‘80s used most notably by The Grateful Dead and Genesis.

Augmented Woodwinds, Brass and Grand Piano

I’ll admit to being somewhat skeptical of Augmented Woodwinds at first. I think Augmented Strings and Grand Piano are excellent, but have found little use for Brass and Voices so far, and woodwinds often feel like some of the most difficult acoustic instruments to get right in a sample library. Yet, Arturia pulls it off, largely by leaning into the synth side of things pretty strongly. You’re never going to convince anyone that the sounds coming out of it are from a flesh-and-blood woodwind ensemble, but the soft cinematic pads and leads you can coax out of it are compelling, especially when paired with an MPE controller like the Push or Seaboard Rise 2. (With the exception of a few presets that seem to come undone when faced with MPE input, at least.)

Like the rest of the Augmented series, Woodwinds, Brass and Grand Piano feel built especially with scoring in mind. That’s not to say you can’t find a use for them in a pop song or jazz arrangement, but these are all about atmosphere and texture, and there’s a healthy dose of sounds that would only be appropriate in the tensest moments of a cosmic horror film.

They all have a suite of advanced controls where you can build almost any sound you want from its four layer engine (two samples and two synths). You can even completely disable the sample layers and go woodwind-less, though, you might as well use one of the other plugins at that point.

CP-70 V

The other completely new instrument, CP-70 V, is a lot more straightforward. It’s an electric piano. A very specific one that hasn’t enjoyed the same level of reverence as the Rhodes or Wurlitzer, but isn’t without its merits. The CP-70 used strings like a real piano, instead of the metal reeds and tines found in Rhodes in Wurlitzers. It also used piezo pickups instead of magnetic ones, resulting in a sound that is significantly closer to an actual acoustic piano. That was definitely a huge selling point for touring acts in the ‘70s and ‘80s that wanted the sound of a grand piano, but didn’t want to lug one on the road. 

The result though, is less characterful than those other electric pianos. It’s brighter and there’s less room for shaping the sound without adding effects. Arturia seems to do an admirable job of capturing the spirit of the CP-70, but it comes close enough to sounding like a real piano, I’d be far more likely to reach for the regular ol’ Piano V plugin in most cases.

MiniFreak V

Acid V and MiniFreak V both launched earlier this year. And frankly, nothing has changed with Acid V in the roughly four months since I wrote about it, so I won’t say much beyond, it’s an excellent TB-303 emulator. It does what you expect it to and not much else, but with about one-tenth of the headaches of the real thing.

MiniFreak V, on the other hand, got a major update yesterday with a new wavetable engine, new super unison effect and some improvements to the LFO. The 32 wavetables are pretty solid and modern sounding. And perhaps, best of all, they seem to be able to handle bass better than some of the other oscillators — an area the Freak line has always felt a little weak in. There are 64 new presets designed to show off the strength of the wavetable engine and there’s some real winners in there. Yes, there are plenty of weirdo sound effects and dubstep bass wubs, but there are also some lovely chilly pads and delicate keys.

Additionally, Arturia is finally adding preset packs for the MiniFreak and MiniFreak V to its store. There are two paid soundpacks, but also three free ones and, well, I can’t recommend that you download Deserted Lands from Oscillator Sink enough. It’s basically just one gorgeous broken patch after another. This was sort of a running theme, though. With MiniFreak 2.0, Augmented Woodwinds and the rebuilt Mini V4, Arturia really improved the quality of its presets. Whether they were designed in house or by an artist they worked with, most felt designed to show off what the plugins were capable of musically, as opposed to technically. That wasn’t necessarily the case with the MiniFreak, the MicroFreak or even Pigments.

Mini V4

This was the single biggest shock of the lot, honestly. Mini V was also a decent enough Minimoog Model D emulation, but the world is filled with those. It was never the reason to seek out V Collection specifically, but it was good enough that you didn’t need to go find an alternative. Mini V4, however, is incredible. The difference is subtle, but definitely noticeable if you load up the default template in both Mini V3 and V4 and play them side by side. For one, the V4 is a touch louder, but it’s also fuller. Part of that, I think, is there’s more inherent instability in the new oscillator model. As you start playing at the lower reaches of the keyboard you can hear it more clearly.

You can also play lower notes. Where V3 simply doesn’t work below A-1, V4 will let you get all the way down to C-2, though, there’s very little musical reason for you to go down that far.

The differences become more apparent when you start messing with the filter. More bass is retained as you start turning up the resonance in the new version, and it remains usable even with it pinned. The frequency cutoff is also smoother with a bit more of a guttural growl as you start isolating those lower frequencies.

While the Minimoog obviously excels at bass, and Arturia makes sure to showcase that, there are also a lot of presets that push the sound in different directions. The benefit of a plugin over the actual vintage synth is that you can have eight notes of polyphony here. That gives this virtual Model D the freedom to play unstable pads and electric-piano style keys.

The addition of a “vintage” knob is also quite welcome here. While I love things being ever-so-slightly out of tune and for there to be a gentle whisper of white noise in the background, others might want a more buttoned up sound.

It’s also worth pointing out that Arturia didn’t go too overboard with the features here. There’s no modulation matrix or sequencer or motion recording. There’s a handful of useful effects, an arpeggiator and MPE controls, and not much else beyond what you’d find on the original.

Wurli V3

Similar to the Mini V, Arturia took its Wurlitzer plugin and decided to start over agin. The results are excellent, if a touch less dramatic than with the Moog emulation. The general tone is brighter and it sings a bit more in the lower registers. There also seems to be a wider stereo field than before as well. The cumulative effect is something a bit more inviting.

The new mic and amp simulations help it feel more alive and like you’re actually in a room with a Wurli instead of just playing one through your computer. And the age parameter adds instability to the sound, allowing you to get that “just found this keyboard in my uncle’s basement where it’s been sitting untouched for 30 years” sound. Not to mention it absolutely nails the sound of Supertramp’s “The Logical Song.”

The Wurli isn’t a plugin I reach for terribly often, but I appreciated the improved tone that should help it cut through a mix a bit better. It’s also far more versatile than the CP-70 V, though even with the improvements I’m far more likely to reach for a Rhodes.

Arturia V Collection X is available now and existing Arturia customers will get a discount, depending on what software they already own. If you’re new, the full price of $599 might be a bit tough to swallow, but it still represents one of the better deals in soft syths.

This article originally appeared on Engadget at https://www.engadget.com/arturia-v-collection-x-is-its-biggest-upgrade-in-years-160015345.html?src=rss

Source: Engadget – Arturia V Collection X is its biggest upgrade in years

The Electronic Entertainment Expo, better known as E3, is officially dead. “After more than two decades of E3, each one bigger than the last, the time has come to say goodbye. Thanks for the memories,” the Entertainment Software Association, E3’s organizer, wrote on X. The industry trade group wrote closed out the statement with “GGWP” or “good game, well played.”

E3’s troubles have been well documented in recent years, with the pandemic arguably exacerbating the video game expo’s demise. There hadn’t been an in-person E3 since 2019. The 2021 edition took place virtually, but the ESA canned the 2020, 2022 and 2023 events entirely. 

The ESA told its members this spring that after major names pulled out of this year’s planned E3, the event “simply did not garner the sustained interest necessary to execute it in a way that would showcase the size, strength and impact our industry.” ReedPop, the organizer of PAX and New York Comic Con, was set to run E3 2023 before the event was canned.

“We know the entire industry, players and creators alike have a lot of passion for E3. We share that passion,” ESA president and CEO Stanley Pierre-Louis told The Washington Post. “We know it’s difficult to say goodbye to such a beloved event, but it’s the right thing to do given the new opportunities our industry has to reach fans and partners.”

In truth, the writing was on the wall before any of us had heard of COVID-19. Sony, the biggest publisher in the industry, opted not to take part in the 2019 edition. EA declined to hold an E3 press conference that year too, instead choosing to run its own EA Play showcase a few days before the industry event.

Many publishers no longer need an E3 to show off their upcoming slate of games. It used to be the case that they needed to strike deals with retailers to secure shelf space for their games and hardware ahead of the holiday season, and those agreements were often struck at E3. But the industry has changed significantly in recent years. While a ton of big games arrived this past October, publishers now release major titles throughout the year (in large part to help them meet quarterly revenue targets). Others focus on supporting long-term live-service games that aren’t beholden to any release calendar. Digital game sales also mean that publishers and platform holders don’t have to worry as much about partnerships with retailers.

Another key reason for E3’s demise is that publishers can now show off their games to fans directly at any time and without having to struggle for attention against competitors at a trade show. The likes of Nintendo and Sony command the attention of hundreds of thousands of fans whenever they hold a Nintendo Direct or State of Play. There are so many ways for major publishers to get out the word about their games that E3 is no longer necessary in that regard. Skipping E3 also meant that publishers don’t have to deal with the costs of attending a trade show or meeting another entity’s deadlines for having demos or trailers ready.

On the other hand, the death of E3 could hurt independent studios that rely on trade shows to show off their games to publishers in the hopes of securing distribution and/or funding deals. It may also harm smaller publishers that have to compete with the giants for attention.

While E3 may be gone, gaming events aren’t going away. Gamescom, for instance, is far larger than E3 in terms of attendance and other factors.

Summer Game Fest, a sort-of E3 replacement that The Game Awards producer and host Geoff Keighley started in 2020, expanded last year to include a physical event for the first time. Some major publishers — such as Capcom, Ubisoft and Xbox — held games showcases in association with Summer Game Fest this year. The event will return for its fifth edition in 2024. You can probably still expect many publishers to still be holding showcases in May and June, despite the death of E3.

This article originally appeared on Engadget at https://www.engadget.com/e3-is-officially-dead-153411735.html?src=rss

Source: Engadget – E3 is officially dead