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  • IK Multimedia announces UNO Synth Pro and UNO Synth Pro Desktop

    January 13, 2021 - IK Multimedia announces UNO Synth Pro and UNO Synth Pro Desktop. Developed in collaboration with Italian boutique synth-maker Soundmachines.


    Studio

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    Both these new analog synthesizers take the groundbreaking UNO Synth monophonic synth and expand it in nearly every section: more oscillators, more filters, more sequencer memory, more effects, more presets, more connections and more programmability. UNO Synth Pro puts this amazing new sound engine in a rugged metal chassis with a 37-key synth-action Fatar keybed, while UNO Synth Pro Desktop provides a more portable form factor to travel anywhere.

    The UNO Synth Pro's unique dual-filter, 3-oscillator paraphonic design lets it create nearly any synth sound imaginable, and with 256 presets, a new 64-step sequencer and expanded CV/Gate and audio connections, users will quickly find it's the ideal creation station for any outboard rig.

    Huge, real analog sound
    Three analog oscillators offer continuously variable waveshape, including pulse-width modulation. Oscillators can be hard-synced for more harmonically-complex tones, and oscillator FM (frequency modulation) lets users shape everything from bell-like sounds to screaming industrial tones. UNO Synth Pro even includes ring modulation for wobbly, sci-fi sound, and a white noise generator for a wide range of percussive sounds and epic rises.

    Dual-filter design with 24 available modes
    In addition to the original UNO Synth's 2-pole OTA multimode filter, UNO Synth Pro adds a new SSI 2/4-pole LP filter with self-oscillation. The dual filters can be used in series or parallel, with invertible phase, for a total of 24 possible filter modes. This unique design offers nearly limitless tonal possibilities, from recreating classic vintage sounds or forging completely new, experimental sounds.

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    Massive sonic flexibility
    UNO Synth Pro offers two full ADSR envelopes, one dedicated to the filter and the other to amplitude, with both available as sources to modulate everything from oscillator pitch and waveshape to LFO speed or even other envelope stages. Two LFOs (low-frequency oscillators) can create classic synth vibrato, wah and tremolo as well as do more complex modulations including audio range FM.

    A 16-slot modulation matrix makes routing all these a breeze. Users can quickly and easily design even the most sophisticated modulation scheme, with both internal and external sources, including MIDI controllers.

    Deep onboard effects
    UNO Synth Pro offers four effect blocks: an analog overdrive circuit from the original UNO Synth, plus three new, custom-designed digital effects: modulation, delay and reverb. External signals can also be routed through these effects, with pre-effects filtering for added flexibility.

    Improved playability
    UNO Synth Pro offers a premium 37-key synth action keybed made in Italy by Fatar, while UNO Synth Pro Desktop provides an enhanced version of the original's long-lasting capacitance-sensing keys along with pitch and mod strips for enhanced expression. Both units add firm-touch rubber pads for the control sections, plus LED-backlit indicators and an LED display for key information, making it easier than ever to use live on stage or in deep programming sessions in the studio.

    Powerful presets, sequencer and arpeggiator
    UNO Synth Pro offers 256 user-editable presets, each capturing the full state of the sound engine from oscillators to effects. An onboard 64-step sequencer offers both step and real-time recording, with automation of over 80 parameters, letting users create incredibly intricate and evolving soundscapes, and even write CV and gate automation.

    And a 10-mode arpeggiator makes it easy to create intricate patterns and runs, while a new "chord mode" takes advantage of UNO Synth Pro's paraphonic design, opening the door to triads and chord work.

    Advanced connectivity
    UNO Synth Pro offers two noiseless, balanced stereo outputs as well as headphone out, for superior audio quality in any situation. USB and 5-pin DIN MIDI In and Out make it easy to integrate with other synths, Mac/PC and mobile devices, and its assignable CV/Gate connections lets UNO Synth Pro interact effortlessly with a Eurorack or other modular system.

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    And now, an audio input allows access to the filter and FX section for external signals, in addition to the original pass-through for daisy-chaining multiple units together without using a mixer.

    Options, pricing and availability
    UNO Synth Pro and UNO Synth Pro Desktop will be arriving in Q1 2021 and are currently available for pre-order from the IK Multimedia online store and from IK authorized dealers worldwide for $/€649.99* and $/€399.99 respectively.

    *All pricing excluding taxes

    For more information about UNO Synth Pro or to see it in action, please visit: www.unosynthpro.com


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  • Similar Content

    • By Andreas Hedberg
      Erik van Vliet och Michael van Der Kuy.
      In the late 70’s, the electronic dance music begin to emerge, and the Italian disco synth pioneer Giorgio Moroder was a inspiration for the Italo Disco genre. Synth and disco music was produced by many Italian producers around 1977 and onward.
      For a Swedish version of this article, please click here.
      Italo Disco and Spacesynth music consists of tracks with simple arrangements, catchy melodies, and a sound generated by analog synthesizers, and drum machines. Italo Disco had its peak around 1985, and was played frequently in Swedish clubs (and, of course, internationally too). Spacesynth, or Space Disco as it is also called, counts as a subgenre of Italo Disco, but unlike Italo Disco, its mainly instrumental music with a futuristic sound. The retro–futuristic cover art is also a very important part of the genre. To this day, Spacesynth still has many fans among dance music veterans and new generations of club goers alike.
      Erik Van Vliet, founder and producer of Laserdance.
      Founder of Laserdance
      In 1969, at the age of twelve, Erik Van Vliet was playing drums and electric bass and was mostly into rock music, but a few years later, he discovered disco and synth-based dance music – music by Moroder and Farina, and a whole new world opened up to him. In 1972, when Erik was 15 years old, he started dj’ing at various clubs in Rotterdam, playing disco music.
      – I was also dj’ing in Italy for two summers when I was 18. It was amazing, but soon I had to do military service, normally it is for 18 months, but I signed a contract for four years as a volunteer, because then I would earn three times as much money. I could still work as a dj on the weekends.
      – The first dj record shop in Rotterdam, Holland, was named “US Import Records”. I drove around in Milan, Italy in the late 70's to buy the synth-based dance music and early Italo Disco music in a lot of different small underground record stores. I bought all the classics I could find with music by Giorgio Moroder, Mauro Malavasi, Farina and others, partly to play these when I was DJing, but also to sell to the “US Import Records”. These early disco and Italo disco music are still the best, I think. The “Peter Jacques Band”-album "Fire Night Dance" is the best disco album ever made.
      Listen to Fire Night Dance on Spotify here.
      – After I’ve served in the military, I’d saved so much money that in 1982 I could start my first own record store, "Hotsound Import Records", in Rotterdam. The business grew, and eventually I owned several record stores.
      The first Laserdance track
      Soon, Erik himself was releasing his own disco synth medleys and mixes, and he had a vision of recording and producing songs also. One song had long fascinated and inspired him, and that was an almost unknown b-side on a vinyl, of a band called "Sponooch" and the song was called “Laserdance” from 1979. Watch the video of Sponooch's "Laserdance" on Youtube here:
      Erik did a remake of that song, and made it more suitable for the dance floors. And in 1984 he released his first label called Lazer Dance under the artist name Laserdance.
      – I never played the syntheziser. or anything like that, but it's not just about being able to play, but to produce and create the sounds you're looking for. My strength is to produce and create the right marketing. For me, these are two things in one. I don´t want to produce a song if there is not a marketing plan to sell the music.
      When it comes to producing music, I have seen so many people over the years that overproduce their music – there are too much instruments and things happening in a song. It is usually better to make it sound simple, because then it is easier for people to listen to it, and above all, they’ll remember it. If you listen to a Laserdance track it is very simple music basically, and its built up the same way as the music from Giorgio Moroder or Arthur Baker (house/tehno producer), to give you an example.
      The collaboration with Michiel Van Der Kuy
      Erik and the composer and classical pianist Michiel Van Der Kuy met in "The Marathon", a popular Italo Disco club in The Hague, Holland. Michiel loved Eric's Italo Disco music that he promoted at the club, and asked if they should work together. The first step was that Michiel began sending demosongs to Erik.
      – Michiel was a classical pianist when we met, and he had not done any Italo- or Spacesynth productions before, so even if he was a great talent, and wrote great music, he didn´t manage to get the right sound. I had to teach him this, and made sure to provide him with a lot of cassettes with early Italo Disco music, to understand the sound.
      – We were a great team right from the start. Michiel is mainly the composer of Laserdance, although I have been involved as a composer on some songs, as Michiel is involved in the production, but I'm primarily responsible for the arrangement, production and the mixing. I also do the lyrics and is responsible for the albums titles, the songs titles and the artwork.
      The first album
      – The first album “Future Generation” was released in 1987. It was magical, everything was just so right with this album. The most successful singles from the album were “Humanoid Invasion” and “Power Run”. It's my voice you hear in those songs. Thesingles, and the album, sold really well.

      The main instruments used on “Future Generation” were a Roland Super JX10, Roland Juno-60, MSQ-Roland 100 (sequencer), Linn Drum, and Korg DVP-1 (vocoder) is used extensively.
      Listen to "Humanoid Invasion" on Spotify here.
      Nine albums
      Erik and Michiel did nine Laserdance albums together until 1995, when they went separate ways because Michiel wanted to try his luck on his own, and created the band Rygar. In the year 2000 the last Laserdance album "Strikes Back" was released. Erik made this together with a musician named Julius Wijnmalen. Erik did one more album with him, and the plan was to release a second album in 2002 or 2003, but it never happened.
      – “Strikes Back” was Laserdance to the style, but it was not quite the same as when Michiel and I did it. Also after the year 2000 the music industry almost collapsed when people began downloading music.
      Back after 21 years
      – It is just until recently, when vinyl is selling well again, and we got a pretty good deal with the record label ZYX, both I and Michiel thought it would be fun to make a new Laserdance album. ZYX also had in mind how good the sales had been with our first album.
      – With “Force of Order”, we tried to make an even better album than the “Future Generation”, although we knew it would be difficult. “Future Generation” was special. We listened very carefully to it before we worked on “Force of Order”, and it was more or less an order from ZYX to do that.

      – “Please, do the new album as similar as possible as the first one ", they said. Both Michiel, I, and ZYX, know that our fans around the world would likely buy the album if it had the original sound from “Future Generation”. In the past we sold about 80 000 albums, and today maybe 1 000 albums, but those are the times now. We are most popular in Mexico and Poland, but it is also where the largest proportion of illegal downloads of our songs are being made.
      Same old gear
      – Michiel bought exactly the same synths and gear that we used on “Future Generation”. We even rented some gear if we couldn’t find it. We really did everything to get the same sound as on the “Future Generation”. We only used analog hardware synthesizers, no software synthesizers at all, but we recorded and mixed everything in the computer. If we make more Laserdance albums, we will produce it with the same analog equipment.
      – It took about six months to complete “Force of Order” - from composing to distribution. Now Michiel had already previously composed a couple of unreleased songs that are on the album. The response of “Force of Order” has been fantastic. Fans really like it, and everyone is happy that me and Michiel are back making music together again.
      Listen to “Endless Space” from Force of Order on Spotify here.
      Michiel van Der Kuy signing his autograph on the cover of ”Force of Order”.
      Possibly more albums to come
      Now when Erik and Michiel are back, starting with “Force of Order”, they have already talking about another Laserdance album. Erik has artwork for it, the title of the album, and the titles of the songs.
      – We hope to release an album a year, but we have a contract with ZYX and they also have to want us to do it. ZYX of course look to how the sales will go. I will soon have a discussion with them. It is now April, and I need to know in a couple of months if we can plan ahead for a new album.
      – For maybe 25 years I have been trying to convince Michiel to set up a Laserdance concert - a tour perhaps? Michiel never been so interested to do that, though, but I think it would be a fun adventure for the both of us. Naturally, it has to be done together with the right people, in the right places and context. Perhaps as an opening act for Kraftwerk?
      EARLY SYNTH-BASED DISCO, ITALO DISCO OCH SPACESYNTH
      Giorgio Moroder – From here to eternity, 1977 Donna Summer (Giorgio Moroder) – I feel love, 1977 Space – Magic Fly, 1977 Giorgio Moroder – The Chase (from Midnight Express), 1978 Peter Jacques band – Fire night dance (album), Walking on music (hit single), 1979 Sponooch – Laserdance, 1979 Koto – Chinese revenge, 1982 Hipnosis – Pulstar, 1983 Laserdance – Laser Dance, 1984 Laserdance – Humanoid Invasion, 1987
    • By Andreas Hedberg
      Erik van Vliet och Michael van Der Kuy.
      I slutet av 1970-talet, började elektronisk dansmusik växa fram, och en av pionjärerna var Giorgio Moroder – en italiensk producent och musiker som Italo Disco-genren hämtat mycket inspiration ifrån. Synth- och discomusik producerades av många italienska producenter redan runt 1977.
      For a English version of this article, please click here.
      Signifikativt gällande Italo Disco och Spacesynth är enkla arrangerade låtar, med enkla catchy melodier och harmonier, och ett sound skapat av synthar, vocoders och trummaskiner. Italo Disco hade sin peak runt 1985, och spelades flitigt på svenska discotek under 80-talet.
      Spacesynth, eller Space Disco som det också kallas, räknas som en subgenre till Italo Disco, och är till skillnad från Italo Disco, instrumental uptempo synthmusik med ett ofta futuristiskt sound. De futuristiska skivomslagen är också en väldigt viktig del i produktionen.
      Erik van Vliet.
      Grundaren av Laserdance
      Runt 1969, som 12-åring. spelade Erik van Vliet trummor och bas och var mest inne på rockmusik, men ett par år senare upptäckte han disco och den syntbaserade dansmusiken, musik från bland annat Giorgio Moroder och Farina, och en helt ny värld öppnade sig för honom. År 1972, när Erik var 15 år gammal, började han dj:a på olika klubbar i Rotterdam.
      – Jag dj:ade även i Italien under två somrar, när jag var runt 18 år gammal. Det var fantastiskt, men snart var jag tvungen att göra militärtjänstgöring som normalt var 18 månader, men jag skrev på ett kontrakt för hela fyra år, som frivillig, för då tjänade man tre gånger så mycket pengar. Jag kunde ju ändå fortsätta att dj:a på helgerna.
      – Den första dj-skivbutiken i Rotterdam hette USA Import Records. Jag åkte runt i Milano, Italien i slutet av 70-talet för att köpa syntbaserad dansmusik och tidig Italo Disco på en massa olika små underground-skivbutiker, alla klassiker jag kunde hitta med musik av Giorgio Moroder, Mauro Malavasi, Farina med flera. Dels för att spela dessa när jag dj:ade, men även för att sälja till USA Import Records. Dessa tidiga plattor är fortfarande de bästa tycker jag. Peter Jacques Band album ”Fire Night Dance” tycker jag är det bästa disco-album som någonsin gjorts.
      Lyssna på “Fire Night Dance” på Spotify här.
      – Efter militärtjänstgöringen så hade jag sparat så mycket pengar att jag 1982 kunde starta min första skivbutik ”Hotsound Import Records” i Rotterdam. Det växte, och så småningom hade jag flera skivbutiker.
      Första egna låten
      Snart började Erik själv släppa egna disco/synth-medleys och mixar, och han hade en vision om att själv spela in låtar. En låt hade länge fascinerat och inspirerat honom, och det var en nästintill okänd b-sida av ett band som hette ”Sponooch” och låten hette Laserdance, från 1979. Erik bestämde sig för att göra en remake av denna låt, och göra den mer anpassad för dansgolvet. Och 1984 släppte han sin första låt som hette Lazer Dance under namnet Laserdance.
      Se musikvideon av Laserdance med låten Sponooch här:
      – Jag spelade aldrig synt eller nåt sånt, men det handlar inte bara om att kunna spela, utan även att kunna producera och skapa det sound man är ute efter, och jag har ett öra för det. Min styrka är att producera och göra rätt marknadsföring. Det är som två saker i en – jag vill inte producera en låt om det inte finns en marknadsföringsplan för att få ut musiken.
      När det kommer till musikproduktion, så har jag sett så många människor genom årens lopp som överproducerar musiken – det är för mycket instrument och saker som händer i en låt. Man vinner oftast på att få det att låta enkelt, för då är det lättare för folk att ta till sig låten och framförallt att de minns den. Lyssnar du på exempelvis Laserdance så är det väldigt enkel musik i grunden, och byggs upp på ett liknande sätt som musik av Giorgio Moroder eller Arthur Baker (house/tehno producent).
      Samarbete med Michael Van Der Kuy
      Erik och kompositören tillika klassiska pianisten Michael Van Der Kuy träffades på ”The Marathon”, en populär Italo Disco klubb i Haag, Holland. Michael älskade Eriks Italo Disco musik som Erik promotade på klubben, och frågade om de skulle kunna samarbeta, och ett första steg blev att Michiel började skicka demolåtar till Erik.
      – Michiel var en klassisk pianist när vi träffades, och han hade inte gjort någon Italo- eller spacesynth-produktion tidigare, så även om han vara en stor talang, och skrev bra musik, så var det inte rätt sound och stil. Jag fick lära honom detta och såg till att förse honom med en massa kassetter med tidig Italo Disco musik.
      – Vi var ett bra team redan från början, och Michiel är huvudsakligen kompositören i Laserdance, även om jag varit delaktig som kompositör i vissa låtar, men jag ansvarar i första hand för arrangemanget, produktionen och mixen. Jag sätter även texterna och ansvarar för albumens och låtarnas titlar samt design. Men även Michiel är delaktig i produktionen.
      Första albumet
      – Vårt första album, ”Future Generation”, släpptes 1987. Det var magiskt – allt blev så rätt med det albumet! De största singlarna från albumet var ”Humanoid Invasion” och ”Power Run”. Det är min röst du hör i dessa låtar. Båda ovan nämnda singlar, och albumet, sålde fantastiskt bra.

      Huvudinstrumentet på Future Generation var en Roland Super JX10, men även Roland Juno-60, Roland MSQ-100 (sequenser), LinnDrum och Korg DVP-1 (vocoder) användes flitigt.
      Lyssna på låten ”Humanoid Invasion” här.
      Totalt nio album
      Erik och Michiel gjorde totalt nio Laserdance album, fram till 1995, därefter gick de skilda vägar eftersom Michiel ville pröva lyckan på egen hand och skapade bandet Rygar. År 2000 släpptes sista Laserdance plattan ”Strikes Back”. Erik gjorde denna ihop med en musiker vid namn Julius Wijnmalen. Erik gjorde ytterligare en skiva med honom som skulle släppas 2002 eller 2003, men det blev inte så.
      – Strikes Back var Laserdance till stilen, men det var inte riktigt samma sak som när Michiel och jag gjorde det. Och musikindustrin efter år 2000 kollapsade nästan när folk började ladda ned musik digitalt.
      Nytt album efter 21 år
      – Det är först nyligen när vinyl börjat sälja bra igen, och vi fick till ett hyfsat bra avtal med skivbolaget ZYX, som både jag och Michiel tyckte att de skulle vara kul att göra ett nytt Laserdance album. ZYX hade också i åtanke hur bra första albumet ”Future Generation” sålde.
      – Med ”Force of Order” försökte vi göra en ännu bättre platta än ”Future Generation” även om det förstås skulle vara svårt – Future Generation var speciellt! Vi lyssnade mycket noga på den innan vi jobbade med Force of Order, och det var också mer eller mindre ett krav från skivbolaget.

      – ”Snälla, gör plattan så lik den första som möjligt!”, sa ZYX, för vi och de vet att folk runtom i världen som är våra fans sannolikt skulle köpa plattan om det hade det ursprungliga soundet. Förr sålde vi runt 80 000 album, och idag kanske 1 000 album men så är tiderna nu. Vi är mest populära i Mexiko och Polen, men det är också där störst andel illegal nedladdning av våra låtar sker.
      – Michiel skaffade exakt samma syntar och prylar som vi använde på ”Future Generation”. Vi hyrde in det vi inte kunde hitta, allt för att verkligen få samma sound som förr. Vi använde bara analoga hårdvarusyntar, inga mjukvarusyntar alls, men vi spelade in och mixade allt i datorn. Om vi gör fler Laserdance-plattor, så kommer vi använda samma analoga utrustning.
      – Det tog cirka sex månader att färdigställa ”Force of Order” – från komponerandet till distribution. Nu hade Michiel redan komponerat ett par osläppta låtar sedan tidigare som användes. Responsen har varit fantastisk – alla fans tycker om Force of Order, och alla är glada att jag och Michiel är tillbaka och gör musik ihop igen!
      Lyssna på “Endless Space” från "Force of Order" här.
      Kompositören Michiel Van Der Kuy signerar ”Force of Order”.
      Eventuellt fler album framöver
      Nu är samarbetet med Michiel igång igen med Force of order, och de har redan pratat om ytterligare ett Laserdance album. Erik har redan en omslagsbild klar för det, vad plattan ska heta och även titlarna för albumet.
      - Vi hoppas kunna släppa ett album per år, men vi har kontrakt med ZYX och de måste också vilja att vi gör det. ZYX kollar förstås på hur försäljningen går. Jag kommer snart ha en diskussion med dem – vi är nu inne i april, och jag behöver veta om senast ett par månader om vi ska planera in ett nytt album.
      Tankar på turné
       – Jag har i kanske 25 år försökt övertala Michiel att sätta upp Laserdance konserter, en turné kanske? Michiel har aldrig varit så sugen på det dock, men jag tycker det vore ett kul äventyr för oss. Det måste förstås göras ihop med rätt personer och på rätt ställen och sammanhang, kanske som förband till Kraftwerk?
      Mer om Laserdance album finner du på musikförlaget ZYX webbplats.
      TIDIG SYNTHBASERAD DISCO, ITALO DISCO OCH SPACESYNTH
      Giorgio Moroder – From here to eternity, 1977 Donna Summer (Giorgio Moroder) – I feel love, 1977 Space – Magic Fly, 1977 Giorgio Moroder – The Chase (from Midnight Express), 1978 Peter Jacques band – Fire night dance (album), Walking on music, 1979 Sponooch – Laserdance, 1979 Koto – Chinese revenge, 1982 Hipnosis – Pulstar, 1983 Laserdance – Laser Dance: 1984 Laserdance – Humanoid Invasion, 1987
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