With the filters we have the tonal heart of three classic synths from the V collection range, the Minimoog (Arturia developed their original emulation in collaboration with Bob Moog), the Oberheim SEM and the Oberheim Matrix 12 with some very clever control additions.Įach one sounds unbelievably close to the original hardware unit. We have to agree with Arturia, we will actually use them all. We found ourselves using them in series, pushing some warmth into a sound with the V76 and then adding presence with the TridA, or fattening up drums with a touch of overload and the second transformer on the Neve.
Having regularly used all of these devices over the last 35 years we can honestly say that the character of each is very close to the originals.
The EQ is less sophisticated than on the other two, more like tone controls (they are simple fixed frequency shelves) but they do have a certain quality to them and are particularly great if something just needs a bit of brightening. Pushing this into distortion and then pulling it back a bit really warms up a thinner signal and adds some lovely harmonic texture. The V76 is a very different beast, smooth and creamy with plenty of solid low warmth. We love Tridents of this era as we learnt on one and there is a familiarity to the sound of that EQ that takes us back to our younger years: the wonderful interaction between the mid and high and that extra bit of presence you get when you push the gain to the edge of distortion. If you have multiple controllers you can save a config for each (or different configs for each) allowing you to switch easily between different configurations of your setup. Once assigned knobs and switches are coloured red and everything’s assigned you can save this configuration. This is an excellent way of building up highly-controllable patches, particularly helpful in live performance where you want to minimise any margin for error. Leave them at 0% and 100% if you want to adjust them over their full range or set a defined range. For continuous controls, there are an extra set of parameters you can adjust which come in the form of a minimum/maximum slider. Then it is a simple matter of clicking on the required knob or button, and either moving a knob or clicking a switch on your controller, and it’s assigned. You simply click on the MIDI icon on the far right of the toolbar and then all assignable controls are coloured purple. Arturia has come up with a very simple and elegant way to MIDI-control its plugs from a controller, and the filters are no exception.
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