“We messed around and played a lot of music”: André 3000 teases SAULT collaborationAndré 3000 has revealed that he has worked on some music in the studio with mysterious collective SAULT.

READ MORE: “Sometimes it feels inauthentic for me to rap because I don’t have anything to talk about in that way”: Why André 3000 isn’t rapping in his latest album, New Blue Sun 

Last month, the rapper – real name André Benjamin – said in an interview with BBC 6 Music that he had been introduced to the collective when they were in “their secrecy stage” by a friend of his who is also a musician.
“You know, we hung out, went to the studio, messed around a bit… yeah. And once I was turned on to them, I kind of listened to what was done before. I think they’d only had like one or two albums out at that time,” he says.
Host Gilles Peterson then asked Benjamin if he had recorded any music with SAULT, and whether fans could “look forward to” hearing it. “We can look forward to it in the future,” he responded.
“We’ve talked about me coming there [to London], actually, to work in the studio with them. But I’ve hung out [with them] in the studio here in LA before. You know, we messed around and played a lot of music,” he says.
“But we’re hoping to do something a little bit more substantial, soon.”

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Benjamin made headlines late last year with his new album New Blue Sun,  an 87-minute record consisting of minimalist and experimental flute music without any rapping. Its long titles, one example being  I swear, I Really Wanted To Make A ‘Rap’ Album But This Is Literally The Way The Wind Blew Me This Time, also grabbed particular attention. That track also broke the record for the longest song to chart on the Billboard Hot 100.
Meanwhile, SAULT played their first ever live show at London’s Drumsheds last month, but fans were divided over them charging close to £100 per ticket.
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CES 2024: Mercedes-Benz enlists Will.i.am for “interactive music experience”, MBUX Sound DriveCES 2024: Will.i.am is working with Mercedes-Benz to create a new “interactive musical experience” for its cars.

READ MORE: “You know it’s gonna make better songs than you. It’s Super Mario Bros. right now – we ain’t even got to Call of Duty yet”: will.i.am on the future of AI in music 

The company recently announced MBUX Sound Drive, a new feature which uses sensors and software to match the music playing in a vehicle to the way someone is driving. Mercedes says it has composed musical tracks to pair with regular driving functions such as acceleration, steering, and braking, turning the whole car – as Will.i.am explains – into its own “orchestra”.
Drivers can opt in for this unique musical experience by selecting Sound Drive through their infotainment screen, which then links the car’s hardware with the music software through “precise ‘in-car signals’ that enable the music to react to the driving characteristics in real-time”.
Credit: Mercedes Benz Group
This could work in several different ways – for example, turning on the windscreen wipers could activate lo-fi beats for driving to in the rain, while an EDM beat would get progressively faster as you accelerate down a motorway.
On top of this, Mercedes has said it wants Sound Drive to be an “open music platform” so any musician can create their own auditory soundscape for driving. Artists around the world have been invited to “create tracks” for a variety of driving functions.

Sound Drive will be available to owners of Mercedes-AMG and Mercedes-Benz vehicles equipped with the second generation of the MBUX system from mid-2024. The feature can be downloaded via an over-the-air software update. Pricing information was not immediately available.
In August, the Black Eyed Peas rapper offered his thoughts on AI, reminding listeners on the Diary of a CEO podcast that despite the fears around the technology, it’s still only in its infancy.
Credit: Mercedes Benz Group
“If you’re a marketer, if you’re an artist that works for a brand, if you’re an agency that works for brands – this technology is gonna give super creatives agency,” he says. “So why do they need agencies?”
“Just the vast transformation – and for hyper creatives, now they just need a new tool to help them birth stuff. It’s a new renaissance.
“It’s the ultimate dream if you’re preparing. A section of the world whose problems have always been ignored [can] now go out and solve those problems with this tool.”
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NAMM 2024: MOTU’s 828 audio interface receives “complete redesign”When you purchase through links on our site, we may earn an affiliate commission. For more information on how this works click here.
NAMM 2024: Audio brand MOTU (Mark Of The Unicorn) has released a revamped edition of its ever-popular 828 rack-mounted audio interface.

READ MORE: “There’s still work to be done” on CHOMPI sampler, say Hainbach and Ricky Tinez

The 828 has been a mainstay in professional studios since the first model was launched in 2001, because of its connectivity options, reliable performance, and industry-standard compatibility. Since then, we’ve witnessed MK2 and MK3 versions launched, followed by the Thunderbolt-compatible 828x and the 828es, which draws on MOTU’s own AVB (audio video bridging) technology.
Now, just in time for NAMM 2024, MOTU has gifted us with a “complete redesign” of the 828. It looks to be a complete refresh, hence the simple ‘828’ name, as opposed to being the 828 MK4 or another version.
What’s new with the MOTU 828 (2024)?
This 1U (‘one rack unit’) rack-mounted device features ESS Sabre32 Ultra DAC technology, which provides exceptional analogue quality, according to MOTU. Through a 5 Gbps USB3 connection, the 28×32 interface has 60 channels of I/O, including a 24-channel mixer with onboard effects like reverb and EQ.
The front panel hosts a vibrant 3.9-inch LCD display for precise metering and convenient control room features. Noteworthy front-panel components include two combo XLR/TRS mic inputs with individual controls and dedicated send/return inserts. Additional I/O options comprise TRS analogue in/out, ADAT optical I/O, S/PDIF digital I/O, and headphone outputs.
Advanced features include wireless control via the CueMix 5 app, loopback USB channels for streaming, and guitar re-amping. The interface comes bundled with essential software, including CueMix 5, MOTU Performer Lite, Ableton Live Lite, and premium loops. With its sleek 1U design and USB audio class compliance, the MOTU 828 stands as a powerful and versatile solution for professional music producers.
The new MOTU 828 costs $1,307, and is available to buy at Thomann.
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Midilab Offers FREE JC-303 Bass Synth VST Plugin
Midilab released JC-303, a freeware bass synth VST plugin for Windows, Mac, and Linux. Dust off your rave gear because Midilab released the JC-303 bass synth plugin, which you can pick up for your favorite DAW on any major OS. The JC-303 bass synthesizer is designed to be an authentic clone of the Roland TB-303 [...]
View post: Midilab Offers FREE JC-303 Bass Synth VST Plugin

Spotify is now calculating royalties differently. How will it affect you?The much talked shift in how Spotify calculates royalties has happened. But what do the changes actually mean for independent musicians? The changes focus on three areas: Spotify claims these. Continue reading
The post Spotify is now calculating royalties differently. How will it affect you? appeared first on Hypebot.

Tascam to launch TH-11 headphones Tascam's latest headphones promise to offer a high-quality solution for everyday listening as well as standing up to recording or performance duties.

How to press records using eco-friendly “Green” vinylWe all love vinyl, but there is no escaping the fact that records are made of polyvinyl chloride (PVC) and, therefore, have a lasting carbon footprint. Greenpeace says that PVC. Continue reading
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CES 2024: Samsung debuts ‘Music Frame’ at CES 2024 – a screenless Bluetooth speaker that doubles up as a picture frameCES 2024 is off to a flying start over in Las Vegas. Every year, the event continues to showcase the finest, most innovative pieces of new tech – and 2024 is shaping up to be no exception.
Samsung has unveiled a selection of exciting new products at its showcase event, including a stylish new way to listen to your favourite records. The Music Frame serves as the musical counterpart to Samsung’s The Frame TV, a wireless bluetooth speaker that doubles up as a nifty picture frame.

READ MORE: CES 2024: Sennheiser announces Momentum 4 earbuds with lossless audio

The Music Frame is designed to provide a top-notch listening experience. With Samsung’s SpaceFit tech, it’s able to calibrate the sound to the room, the company insisting it is capable of a “wide radial sound range” that should impress in just about any size space. The speaker is also capable of Dolby Atmos audio, as well as being fit with two woofers, two tweeters, and two mid-range drivers.
But surely popping a photo or a vinyl in the frame in front of the speaker will muffle the sound? Nope – while four drivers are front-facing, the two woofers are on the reverse side of the frame, which allows the speaker’s sound to remain crystal clear.
The frame can be used via bluetooth or Wi-Fi, and is able to be linked in as part of a home theatre set-up due to its compatibility with Samsung’s Q-Symphony technology. That means it will pair easily with any TV speakers or Samsung soundbar you may already own.
As well as the Music Frame, Samsung has also unveiled an advanced, AI-powered version of 2020’s Ballie, allowing anyone to have their own cute robotic AI companion. There’s also an AI fridge on offer, as well as an 8k projector and an incredibly futuristic transparent TV.
No prices have been announced for Samsung’s latest array of tech, but we expect they will be announced later down the line.
Read more CES 2024 news via MusicTech.
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TikTok concert draws 33M proving post-pandemic potential of livestreamsWhen the pandemic shut down in-person concerts in 2020, virtual livestreams were there to save the day. But now that artists are back on stage, will people put down their. Continue reading
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Minimalist drone pioneer Phill Niblock has died aged 90Phill Niblock, the influential avant-garde composer and multimedia artist recognised for his pioneering contributions to minimalist drone music, has died at the age of 90.
After initially studying economics, Niblock transitioned to New York in 1958, where he worked as a photographer and filmmaker. His musical journey commenced in 1968, marked by compositions created intuitively, primarily using tape. Over the years, he embraced computer technology, notably Pro Tools, resulting in more intricate textures.
As the director of Experimental Intermedia from 1985, Niblock played a pivotal role in shaping the avant-garde music scene. He curated over 1,000 performances and oversaw XI Records.
At XI Records, Niblock established a platform for avant-garde artists such as Arthur Russell to showcase their work, building a vibrant community of creatives. His efforts in organising and producing performances, coupled with his curation of the label, contributed to the recognition of groundbreaking projects within the avant-garde music and intermedia realms.
Niblock’s film series, The Movement of People Working, showcased stark realism and vivid colours, portraying everyday labour across diverse global landscapes. A retrospective exhibition in 2013, titled Nothin’ but Working, celebrated his intermedia art.
Influential collaborations defined Niblock’s career, engaging musicians like David Gibson, Rafael Toral, Lee Ranaldo, and many more. His compositional process involved layering single tones, creating monumental, continuous sounds.

His most recent performance was to celebrate both his 90th birthday and the Winter solstice, when the shortest day and longest night occurs. Entitled Winter Solstice: 24 Hours of Music and Film, the event at Roulette in New York presented a unique marathon spanning two days, featuring 12 hours of experimental music and mixed-media film each day, with special guest performers interspersed throughout. You can watch a 12-hour recording of the show above.
Head to Phill Niblock’s website to learn more about his work.
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BAM: Groovebox-style software from Imaginando BAM allows users to create everything from a simple drum loop to a complete track using a collection of built-in synth engines, effects, modulation tools and more. 

CES 2024: Victrola unveils its most impressive and feature-packed turntable yet, the Stream SapphireCES 2024: Victrola has thrown its hat into the CES 2024 ring, unveiling the highest-end instalment to their Works with Sonos turntable range.
The Stream Sapphire turntable is set to be the brand’s most impressive turntable yet, with the ability to support 24-bit/48kHz lossless FLAC audio. The turntable promises to sound far better than its predecessors – and you’d expect so, given its price-tag of $1,499 is more than the $800 Stream Carbon and the $599 Stream Onyx combined.

READ MORE: CES 2024: FiiO is bringing back the ’80s with this Walkman-inspired cassette player

Victrola has also crafted the turntable with higher-quality materials than the Carbon and Onyx models, as well as a brushless motor and a premium Ortofon 2M Blue cartridge.
The system also works with music management system Roon, while also having and Universal Plug and Play protocol (UPnP) integration. That means that the Stream Sapphire will be compatible with loads of speakers and wireless gadgets, from smart TVs, Bluetooth speakers, soundbars and just about any smartphone or laptop.
The company’s CES showcase also unveiled the Victrola Automatic, a budget-friendly turntable that comes in at a far more affordable $199 that will be available in Spring. The turntable wont be a Works With Sonos release, but will have Bluetooth compatibilities.
On the more quirky side, Victrola has also announced it’s been working on an innovative new… Rock. Yep – the Victrola Rock Speaker Connect is a Bluetooth speaker designed to look like a rock. Available in sand, stone and granite, the speaker will allow music lovers to integrate speakers into their gardens seamlessly, powered by a USB-C port and built-in solar panel.
For more information on the Stream Sapphire, head to Victrola.
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CES 2024: FiiO is bringing back the ’80s with this Walkman-inspired cassette playerCES 2024: Strap in as Chinese manufacturer FiiO takes us on a trip down nostalgia town with the release of the CP13, a modern-day cassette player inspired by the iconic Sony Walkman.

READ MORE: Kenny Beats: “We gave this young man $20,000 in studio equipment – then he started going live with strippers for 6 hours a day on insta”

As FiiO explains, the CP13 pays homage to the first of Sony’s portable cassette tape players from 1979, all the way down to its “silver-blue” finish and retro design. Featuring large playback buttons, an oversized knob, and a 3.5mm headphone port, you’d be sure to receive a blast from the past every time you take the player for a spin.
And while FiiO has added several modern elements such as a USB-C port for charging and a status LED, the rest of the player stays true to the retro theme: Bluetooth connectivity isn’t included, nor is there the ability to convert tapes to MP3 files.
In terms of battery life, the CP13 is said to offer up to 15 hours of playback, which should be enough for a full day on the road.
Priced at £129, the player will be released in early March, with a variety of finishes including white, black and blue for you to choose from.
Previously deemed obsolete, cassette tapes have experienced a surprising resurgence of late as sought-after collector’s items, thanks to their appearance in popular media like the ‘The Last of Us’ hit series as well as due to major pop acts like Billie Eilish, Lady GaGa, and Taylor Swift making their albums available in that format.
In 2022, sales of cassette tapes reached a 20-year peak, with an annual figure of 195,000 sales for the year.

To commemorate Sony's first WALKMAN, FIIO debut cassette player CP13 will be silver-blue color(There will be color differences for the rendering and real thing. So the color wont look 100% same) . What do you think of the black color CP13?#cassette #walkman #FiiO #CP13 pic.twitter.com/UF96AAJSgF
— FIIO (@FIIO_official) December 5, 2023

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How does metal music fit into EDM? “When it’s done well, it always works”Heavy metal fans around the world rejoiced in 2023 when Avenged Sevenfold (A7X) released their first album since 2016, Life Is But a Dream…

READ MORE: Back to school with Dillon Francis: Why a maturing music career still needs class clown antics

Then, when A7X announced the third leg of their tour in support of the new album earlier this month, electronic fans rejoiced as well when they saw that American DJ Sullivan King would serve as one of the supporting acts.
Sullivan King, whose real name is Keaton Prescott, has carved a niche in the modern electronic scene by combining his guitar skills and screaming vocals with fiery dubstep. To him, this tour proves that, in fact, life is but a dream.
“It’s fucking crazy, man. It doesn’t make any fucking sense to me. I’m a dubstep artist that screams and plays guitar, and I’m gonna go out with one of the best metal bands of all time — especially my generation. They were a massive inspiration to me. I play Schecter guitars because they’re Schecter players,” Prescott says over Zoom, as he motions to the dozen or so Schecter guitars hanging behind him in his home studio.
Sullivan King DJing with stage flame effects
The idea of an electronic artist joining a metal band on tour may seem unconventional but, in 2023, Prescott is one of many artists who are combining metal and electronic music in their production processes.
Prescott has collaborated with numerous vocalists from rock and metal bands including Papa Roach, Brandon Saller of Atreyu, and Spencer Charnas of Ice Nine Kills.
Other acts like the French electronic duo, Dirtyphonics, have been incorporating metal instrumentation into their productions for years. Another group called HEX is spearheading a newer phenomenon known as techno metal. The founders of the project — Lorenzo Raganzini and Paolo Ferrara — perform live-hybrid sets with high-speed distorted guitar sounds running over four-on-the-floor beats.
With so many different versions of this genre combination finding dedicated audiences, their similarities go beyond novelty. Prescott sees a connective tissue from two perspectives. The first is dynamics:
“[Electronic and metal songs] are as loud as you can push them. We’re just slamming the shit out of the songs,” Prescott says. “In fact, most of the time, electronic music is a lot louder than traditional metal.”
Sullivan King performing live
The second side pertains to the emotional intentions of the genres that come together first and foremost in the live space.
“In a live aspect, [electronic music and metal] convey the same emotion. Getting your aggression out in a positive way, or getting to be as loud as you want to be without feeling that you have to restrain from it,” Prescott says.
Referring to the live space, mosh pits at electronic gigs are now commonplace. They happen most frequently among heavier genres like drum ‘n’ bass and dubstep, but they’re starting to occur at house and EDM events as well.
Beyond the live space, the metal aesthetic permeates electronic music even if there isn’t any overlap in sound.
Meduso performing live against a backdrop of metal-inspired visuals
For example, the popular dubstep artist SVDDEN DEATH isn’t working with metal singers. Yet his visual branding features the same gruesome designs as classic metal bands like Lamb Of God and Megadeth.
Meduso — another burgeoning bass artist who’s been using metal sounds in his productions — sees this cultural exchange as more than just a musical trend. He considers the fact that society has endured quite a bit these past few years through COVID-19, various wars, social justice uprisings…
“Culturally, we’re at a moment — maybe politically, economically, stability-wise, global mental health-wise — it feels like people are getting pushed to their limits. That’s when this heavier, angrier music seems to catch on a bit more,” says Meduso. “Everyone’s just trying to put their spin on it.”
Meduso recently put his spin on it via his track Drive You Mad, which opens with rapid-fire distorted guitar strums before falling into a heavy dubstep drop.
Meduso DJing — he wears Korn sweater
The metal sound is also a staple of Dirtyphonics who, ahead of their new album coming in 2024, have shared multiple singles including the guitar-driven drum ‘n’ bass track, Burbank Nights.
It’s essentially a metal song that borrows the skanking beat attached to drum ‘n’ bass. Every other sound hones more to a metal aesthetic than dance/electronic. The opening is pure metal guitar and then the breakdown flaunts a bass line similar to Spoonman from the alternative metal act Soundgarden.
Dirtyphonics, comprising members Charly Barranger and Julien ‘PitchIn’ Corrales, are adept in this combination because they were both in rock and metal bands long before they started making electronic music back in the mid-00s.
Coming up in France, Barranger and Corrales were inspired by similar groups engaging in this combination. At the time, these groups weren’t necessarily combining the metal and electronic sounds as prominently as Dirtyphonics and Sullivan King, but they were implementing a similar kind of influence and experimentation.
Meduso portrait
On the electronic side, pioneering French groups Daft Punk and Justice both built their music from rock ’n’ roll. Justice described their sophomore album, Audio, Video, Disco, as a “progressive rock record,” to the French magazine, Tsugi, in 2011.
Then on the live side, Barranger and Corrales consider acts like Pendulum and The Prodigy to be the precursors of everything that is happening today among the metal and electronic crossover.
“[The Prodigy] are punks in their own way and they are a band, and you do have guitars but also DJs,” Barranger says. “It probably made it easier for us to see how we could evolve within the music industry. Still keeping where we were from, but also taking it to another electronic dimension.”
“They showed us the way that rave and metal can meet. Because frankly, when we were full-on into metal it was actually the worst thing ever to see a DJ or another artist play metal or incorporate guitar into electronic music,” Corrales continues. “Now, here we are, doing exactly what we said was bullshit before.”
“When it makes sense and when it’s well done, it always works,” Barranger says.
Charly Barranger (front) and Julien ‘PitchIn’ Corrales (back) of Dirtyphonics in the studio
To that point, Barranger and Corrales both acknowledge that finding a way to make that combination work is the biggest challenge. Beyond layering sounds on top of each other without pushing the levels too high, they have to find a way to capture the human feel of playing instruments while matching the loud, intense feel of electronic music.
“When you listen to a metal mix versus a dubstep or drum ‘n’ bass mix, it’s not the same thing at all. Not the same way to compress your stuff. Not the same way to EQ your stuff. So it took us some time, and I guess the quest is never over, to figure out how much of both techniques you want to use,” Barranger says.
Barranger and Corrales often start by recording guitar parts into the DAW to get the feel of the instrument. Then they’ll use plugins and hardware like Positive Grid’s amp and effects processor, BIAS FX, and the pedal and amp modelling processor, HeadRush MX5, to give the guitar the sound and feeling they want within the larger mix.
But they also use these same plugins on synths to give them a more guitar-like character. This helps even out the mix between the two genres. Plus, when they’re recording guitar intros for tracks like Burbank Nights, they’ll remove some of the low-end from the guitar recording and replace it with the low-end of a sub, laying the groundwork for the electronic elements to join the mix more naturally.
Charly Barranger of Dirtyphonics in the studio
“It’s a big game of EQing and compressing so it feels like the sound is analogue even though it’s layered with a bunch of electronics to give it the massiveness of an electronic song,” Barranger says.
And yet, sometimes, integrating human elements of metal into electronic music requires little to no technological manipulation. When Prescott is recording vocals, he purposefully strips everything back. He wants his vocals to retain as much of that authenticity and rawness as possible, and so he uses very few plugins.
For example, Prescott tuned and affected the vocals on his track Someone Else, from his 2023 album, Thrones of Blood, less than almost every other track in his discography. Currently, that’s the track with the most plays on his Spotify — just shy of 19 million at the time of writing.
“I just think it feels very natural,” Prescott says of Someone Else. “Vocally and performance-wise, I definitely like things being a little more raw and not having a thousand layers. Having simple, very clarity-driven tracks is important to me, and I think that’s something that gets lost in dance music because everything is so quantized. Everything is right on the grid. I’m really making sure for me, personally, that I’m not having that rule that it’s gotta be perfect.”

Prescott engaged with this imperfect approach when he was recording vocals for Vantablack, the title track of his shared metal and electronic EP with Dirtyphonics that came out in 2017. They were working in Barranger’s living room and Prescott wanted to record the vocals right then and there with an old, busted SHURE SM58.
Barranger was hesitant at first. He was open to it, but he was sure they would have to go to their studio and re-record with their condenser mic in a more professional environment.
To that, Prescott only had one thing to say:
“This is rock and roll man, this is how it’s done.” Prescott’s take with the SM58 is the one that ended up on the final release.
“I used to be a firm believer that you always need top-notch equipment,” Barranger says. “It’s never been about the equipment, and it never will be. It helps, but good music is good music.”
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Arturia’s V Collection X is the widest and deepest edition yetWhen you purchase through links on our site, we may earn an affiliate commission. More information of how this works here. 
€599, available at pluginboutique.com
Last time we checked in with Arturia’s V Collection, the French developer’s industry-leading synth suite was in its ninth iteration and introducing new and familiar instruments.
“By the looks of things, [Arturia is] far from finished,” we concluded in that previous V Collection review, and we weren’t wrong. The new X version boasts a total of 39 instruments, with a spate of new additions as well as major updates to familiar favourites.

READ MORE: Everything you need to know about Arturia’s V Collection X

The synth-sampler hybrid Augmented Instruments series gets three new iterations while two veterans of the collection, the Mini V emulation of the Minimoog Model D and the Wurli V emulation of the Wurlitzer electric piano, get complete overhauls.
One headliner this time round is the Acid V emulation of Roland’s TB-303, which is joined by the CP-70 V, modelled after the Yamaha CP-70 electro-acoustic piano. The MiniFreak V also joins the collection, a software version of the Arturia MiniFreak and the collection’s only emulation of Arturia’s own hardware instruments.
The Augmented Brass, Augmented Grand Piano, MiniFreak V and Acid V were previously available standalone, but here they join the gang and it’s undoubtedly the better for it. To catch up on the details, check out our article on everything new in the V Collection X.
Arturia Acid V
How good is the Mini V4?
Before taking a closer look at some of the newcomers, let’s spare a moment for the rebuilt Mini V4. The Minimoog Model D is one of the most emulated synthesizers in cyberspace; one of the four inclusions of the original suite, we would posit that in many ways, a software instrument developer is only as good as its emulation of the Moog Model D.
For Arturia to redesign its own emulation from the ground up for a fourth iteration is a respectable statement of intent. Far from resting on its laurels, Arturia is clearly willing to revisit and re-examine even its most familiar emulations alongside expanding the Collection’s size. Here, that pays off.
The result sounds fantastic – clearly better than its predecessor – partly thanks to Arturia’s proprietary ‘True Analog Emulation’ technology. That may sound like a pithy marketing gimmick, but it means that, for example, Arturia’s digital oscillators are free-running with notes generated dynamically (as opposed to being samples, wavetables or generated from a zero-point), resulting in a behaviour much more comparable to an instrument’s analogue counterpart.
Mini V4 has a greater note range than the V3, a brilliantly modelled Moog ladder filter and a Vintage knob to dial in some old-school instability; a function favoured by the late, great Dave Smith, it must be said.
Is the Mini V now contending to be the best Minimoog emulation on the market? Previous versions of the Mini V have had mixed reviews, and it might be less technically accurate than Moog’s plugin, developed with UAD, but with this fundamental redesign the Mini V is certain to ascend in the league tables, and its extra features only add to its appeal.
Arturia Mini V
Is Acid V worth it?
MusicTech reviewed the Acid V upon its standalone release, awarding it a 9/10 score and declaring it “a total winner and another triumph for Arturia”.
It stands up brilliantly in the context of a larger suite of instruments: for one thing, considering the original hardware wasn’t much bigger than a paperback book, it’ll almost be rendered life-sized on many computer monitors. That’s a refreshing change next to the likes of the zoomed-out CS-80 V or Modular V – daunting emulations of physically huge instruments whose interfaces are much more resistant to computer-based workflows.
With all the punch, squelch and acidity one could hope for, the Acid V nonetheless goes deep, furnished with an in-depth sequencer, modulation matrix and a dependable Arturia effects bank.
The Acid V will cost you £169 on its own – more expensive than Behringer’s hardware emulation – so it’s certainly worth saving up the extra £400 or so to get it within the bulky suite of other synths on offer in the V Collection X.
Arturia Acid V
How good is MiniFreak V?
The MiniFreak V is another soft synth that benefits from a simple interface coupled with a tremendous amount of depth under the hood. Released over a year ago now, it once again garnered the approval of MusicTech, with our review dubbing it “an astonishing synth.”
Since the hardware MiniFreak’s synthesis engine is ostensibly digital (with the exception of an analogue filter), what you get here is an exact transposition of the hardware into your DAW. Neat!
Arturia MiniFreak V
What is the CP-70 V?
The CP-70 V is a curious instrument, modelled after the original’s blend of an acoustic grand piano and electric pickups, favoured by artists from Herbie Hancock to Alicia Keys. It fits into the V Collection perfectly between the likes of the Piano V and the Stage-73 V, in that it’s got buckets of 70s and 80s character that may not be ideal for every application, but will sing when used just right.
It’s also, predictably, highly editable in its response, from its envelope to its tuning. In fact, if you’re of the piano persuasion, the V Collection is by now worth purchasing for its piano explorations alone: with the Piano V, Augmented Grand Piano, CP-70 V, Wurli V3 and Stage-73 V all present and correct, it’s hard to imagine how Arturia could possibly expand this aspect of the suite any further.
Arturia CP-70
What’s new in the Augmented Series?
With Arturia previously having piloted the Augmented series with Augmented Strings and Augmented Voices, it’s clear that the series is now hitting its stride.
Each follows the same interface and workflow, namely the congregation of pristinely recorded samples and a total of four different synthesis engines (virtual analogue, granular, wavetable, and harmonic) around a large central Morph knob to blend the two. This is then arranged into two layers, making for a potential total of four separate engines working together. Add a host of modulation options and effects and the result is a formidable instrument with enormous range.
We love how Brass bridges the gap between acoustic horns and lush Juno-esque synth sounds with aplomb, while Piano can lend itself to anything from a prepared piano to a DX7-inspired keyboard and Woodwinds expands the palette of clarinets and oboes into new territories entirely.
Should you upgrade from V Collection 9?
The V Collection is now at a point where it’s worth its price if you need even a quarter of its instruments. Users who have benefitted from the sound and workflow of previous Augmented instruments will have a field day with this update’s new additions, while fans of the collection’s familiar favourites also have much to gain. For newcomers to the collection; considering that many of these instruments retail at €199 apiece on their own, at its price, the suite is a veritable steal, so expansive is its range.
Arturia MiniFreak V
Verdict
Arturia’s V Collection keeps enticing us back. Not just for the expansion of its instrument range but for Arturia’s commitment to constantly improving them.
Choice newcomers are certainly the showpieces of each new edition of the catalogue; but just as valuable is the diligent tweaking and upgrading of well-loved members of the family. A constantly evolving, ever-growing library of creative tools, the V Collection is the gift that keeps on giving.
Key features

A total of 39 instruments
3 expansion packs
6 new instruments: MiniFreak V, Acid V, CP-70 V, Augmented Grand Piano, Augmented Brass and Augmented Woodwind
Two rebuilt instruments: Mini V4 and Wurli V3

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