Alright, hello everyone and welcome to
this new ultra workshop I hope everyone
is doing well today is a bit special
because maybe like some of you guys
noticed we because we already announced
it it’s a new product announcement which
is the software equation of the Oberheim OB-X
a so first let me
introduce myself so my name is batchest
and i work as product manager for Korea
and i was the product manager on obi xav
so yeah basically I worked as a designer on
the product and we worked with the team
to bring you this new instrument which
is we feel and we hope that we will
enjoy and that’s it
so on this workshop, we will do different
sections which are first my colleague
Pierre as that you already saw of on
another workshop we will play you some
presets to show you the sound because
that’s the more interesting for you guys
so we’re gonna start with that the
reason is I’m a terrible terrible ball
player so that’s why I asked for
Pierre’s health and then we’ll dive into
the product with a little bit of history
what we’ve done with the recreation and
then I will present to you what we’ve done
in terms of the feature with this product
and you will see how we basically took
the original and I set up tab it with
some additional features and n
functions then after that yes we will if
we have time we’ll do a bit of I will
present you a project
made with favor big say in instances so
you can have a better understanding and
how we can make a track-only using this
one and as usual at the end I will
answer all your questions so if you have
questions please fill them in to the chat
on YouTube or Facebook during the
workshop and we will laugh whether I
will answer them at the end so I’ll let
Pierre play you some presets
Thank You, Pierre, for that
okay so first just a little bit of is
race or the uber I Mobic say is a
synthesizer which was released in ninety
nineteen eighty which is the successor
of the OB x and the process or do v8
which were which are free over I’m
all be sincere II why did we issue to do
the week a week say the reason is that
first was one of the most requested sins
for the earth to model in the V collection
and then why a big sin not OB x or or b8
actually our favorite is obvious a but
that’s a reason why we use these days as
the base of the product but we borrowed
the feature some feature from the OBX
for example and some pictures from the
ob8 so basically you kind of fist a mix
of the free anti scissors yes and then
building on that we added some advanced
feature like we usually do on your sins
to make you go beyond the original
synthesis voice and allow you to do more
modern production-ready presets and
rocks with that and yes little word on
the technique we used to model decent
though it’s based on the latest
technology of modernization that we used
on for example, the Duke lies all V and
the sin TV which is that we model each
electronical component individually as
mathematical models and basically you
have virtual objects a circuitry which
runs inside the software which allows us
to make a really convincing recreation I
think and I hope you will do as well and
yes a little world on the downside of that I
want to mention it because you will see
when you try it is that
it requires some CPU usage but it’s
decent compared to what you will find in
the competitor products alright so now
we’re gonna dive into the product they
are going to show you a bit of what we’ve
done with this product
ok so first here is the basic structure
II the basic structure of the collection
instrument which is the same among all
instrument which is that we do a
hardware equation of the interface which
basically contains all the original
features from the instrument some
additional as well but we try to fit if
the same feature set I’ll say of the
original on these are web view and then
you can open here a little screen which
is the advanced panel
okay and yes here we fit some more
advanced feature like those of you who
are familiar with some of our
products here’s the function we added
like on some product but I will come
back later to that Malaysian metrics and
some effects so just to have a little
bag with my mouse alright okay so a
little word on the original architecture
he bakes say was based on two
oscillators with the filter I mean it’s a
classic analog synthesizer design you
have interesting particularity on this
since the first, the first is that it was
outputting stereo signal which means
that which means because it was possible
to set the planning of each voice
independently that’s why it was a serial
output and it’s really interesting
because you already you quickly have a
sensation of space by using that
and that really the first thing when I
tried the original synthesizer which was
which I noticed which is cool something
interesting on this one as well is that
you have a chord mode which is the the
way that which allows you to play chord
with a single notes
and yeah I think that’s it for the other
noticeable features feature from the
original instrument I mean after that
you have as you can look since I
features olive oil like portamento
vibrato and LFO but we are going to eat
this in more detail so first let me load
a blank patch here and I won’t know yeah
I want to detail your bit
what we’ve what we have here on the on
the oscillator section so as I said you
have two oscillators with you can select
the waveform that you use on the on each
one so now we only have a selector one
which is running and you have the choice
between sawtooth square and if I
deselect the two the true you have a
triangle world triangle wave and this
was not present on the original but on
your b8 you can as well select the both
of them to play at the same time you
create switcher sounds like that
yes so the two oscillators share the
same architecture so you will find the
my forms here and those later to you can
obviously do tuned the oscillators and
then you have something interesting that
was not present on the original a big
say and actually was not in dust in that
format in the other one which is the OB
8 in which is the one where we took this
feature which is the cross-modulation
and the cross-modulation basically is
frequency modulation so we going to
modulate the first oscillator with
frequency with the second one output so
let’s hear like how it sounds
all right and yes under on B X the
original of exe only had a none of
switch and here we decided to use a
continuous control which is obviously
more interesting because you can do in
between positions which is great for
some designer all right and then you
have yes something interesting here but
we see that after when we remove to the
other section because it’s interesting
but it’s modulated and yes you have
obviously here as you can see else with
control here like that that you can find
in other synthesizers as well all right
ok so a little world then on the filter
which is there is something funny with
my mouse here I don’t know why yes the
filter is you have two modes you have
four poles and two poles which are
basically 24 DB per octave and 12 DB per
octave so you can have different slopes
which is interesting to have different
flavors in the filter the cool thing
here is that this is something they
added with OBX a that was not
included in the OB x and this is
interesting years because you can do
more interesting sounds by tweaking
moving between the two let’s hear a bit
how it sounds
but here are the true poles
really cool and creamy filter we really
like it a lot and here is the four poles
I’m gonna decrease the resonance here
and I’ll explain to you why
yeah really cool the reason I the
resonance at zero is that there’s
differences of behavior between the
original there’s alright the tuple and
the four poles in the four pole you have
lose in loudness when you have the
resonance ranked up
which is not the case on the tuples so
sorry folks all right it’s allowed and
this is actually how it behaves on the
original instrument
all right then yes this section in the
bottom here you see that we have three
knobs here and these knobs allow us to
control the volume for each oscillator
and the noise generator and that as well
when we kind of went different different
way better way than the original because
I’m the original you only had switches
to activate either one of the later into
the filter or not so here you have more
flexibility because you can really mix
your different sources as you want so
now for the purpose of this demo
I’m going to increase activate both
okay and then maybe you have noticed
here that this mode knob which is the
amount of adsr envelope we can apply to
the filter and yes one interesting thing
here which is a bit different than the
other synthesizers and that caught our
attention at the beginning is that if
you have the modulation knob at zero you
can’t reach the full spectrum with the
frequency knob if the cutoff knob and if
you don’t you see maybe here the tool
tip which is 13 kilohertz if you want to
go above this value you have to increase
it if the mode the amount of envelope
here and with the sustain in here that
and yes I mean that’s basically a GSR
envelope so I can do really LASIK
flex sounds easy by doing that so
let’s keep the there were settings for
the whole spectrum here all right and I
think that’s it for the filter now we’re
going to move to the LFO section which
is the three columns you see here
and so here we use the same layout as
the original and the how it works is
that the first column is dedicated to
the LFO controls you see here the right
the you can synchronize it to your vp8
wpm that’s something we added you can
select which wave you want to use and we
added as well the kids freak option
which allows you to restrict the LFO
when you play a note and then the two
next columns are the way are dedicated
to assign the parameters on the LFO and
so here for example, if I want to
activate telephone the ask one frequency
I can click here and then I can change
the amount with this knob here
okay and then the third colon is the
same geography different destinations
that you can activate and you have a
shared mod modulation amount knob here
now we’re going to move to this section
which is the voice session and actually
that’s where we took some Liberty I must
say and you will see that we introduced
a really interesting feature here on
this synthesizer first you have the
unison which was available on the
original let me just actually for those
of you will don’t know how unison work
is basically stuck in different places
one of on each other and when you play a
note you have actually maybe eight or
depends on what you selected here here
it’s it’s eight voices so eight brand
voice of XA voices that are preying on
the same time when you play one note and
yes so as I said at the beginning this
was a stereo distance was outputting
stereo signal and I said that you K you
could detune the panning of each voice
and that’s what you can do here
with this little trimmer in this trap
door here or if I just modify some
values randomly here and I’ll play one
accord and sorry I need to increase this
knob so pay attention now to the song
when I will increase this knob here I
recommend using headphones or speakers
because maybe on your smartphone you
want your difference because what source
most smartphones feature
are mono but that’s here
yes Justin I live in unison and playing
a chord here is without here is with
okay so this was the server feature that
was included on the original as I said
but the really exciting feature that we
added on outside and I’m worried glad to
present you right now is the stereo
spread mode so I can just activate it by
clicking here and now you see that we
have different control that appears in
the bottom here bit similar that then
the one we saw just before and how it
works is that this feature basically
duplicate the oscillators for each panel
left or right in stereo so
duplicates each oscillator and each
filter it ends the filters right so you
basically have twice the voice which is
running and the interesting thing here
is that we can create some offsets in
some parameters for those modules which
will create a really huge impression
impression of wide and huge down in the
zero space so let’s hear it
so first I’m going to move a bit two
controls here otherwise we won’t hear
that much an effect so we are moving the
oscillator section trimmer stereo
trimmer so the more I go from the center
the more we will hear the effect and the
filter here the same and I’m just going
to increase slowly the two knobs so you
can hear the effect I want to specify
here that we just have the outward voice
running right now there is no effect in
credits so
okay so dispatch is already interesting
to do some design and some maybe to
include it in some in the truck and it’s
just a basic patch with this feature
this feature you might maybe recognize
this the kind of effect that icarus
produces but here it’s a much same more
interesting because it’s happening at
the voice level and we can control in
detail what is stereo spread written oh
or not if I just want to oscillator to
do to be stereo can do that
it’s at the filter okay one interesting
thing here as well is the two knob on
the right you will see here which are
labeled movement and what it does is
that it allows us to modulate a
bit the Serio effect inside the filter
and the oscillator let’s just hear what
it does
let me just decrease the frequency here
yeah I’m conferring the rate at which
the modulation is applied and when
applied very slowly in three interesting
because it creates a hardly noticeable
effect but that’s yeah that you still
have the impression of the song moving
all right and the last thing is this in
destruction is this LFO trimmer here
that we didn’t speak about yet which
basically allows us to duplicate the LFO
on the left and right channel as well
and we can control actually the face of
both LFO on each channel if the face is
at zero only we will only hear one LFO
but we can create some kind of ping pong
effect which is very interesting and we
can do in between positions as well so
let’s hear our sounds I’m gonna assign
back this destination here on the Auslan
frequency and we just remove the
movement so in the order fo
I’m gay I’m gonna mute oscillate so true
and this is just a little one
okay so that’s a bit extreme but in
between position can be interesting
it actually modulates the filter
frequency instead of the ask when
okay yes one thing I wanted to mention
as well here is that me and maybe to
some of you the classic make a sound at
least some spam that we we’ve referred
some in some tracks or which is quite
noticeable is that you have and sample
and old as a way from in the LFO and
when you apply it to the little cutoff
is very particular so let’s hear it
okay yes and you will go quickly on the
remaining features buts that the kind of
feature that you can find on the easily
on over a synthesizer so we have an
arpeggiator here let me just
yes in that yeah pretty basic but always
useful it will resonate to over and
opiate so what I like with this
arpeggiator is that your we have a
random option and we can select
different octaves to go up so it fits
really evolved it patterns with that
alright then you have a possum enter the
thing a little bit different here is
that on the Biggs original a big sayin
on our equation
it’s a polyphonic portamento so when you
will there when you will play some notes
in different ranges, you’re going to
evolve polyphonically so not all under
the same time
I hope you’ve heard the effect and then
we have a vibrator which basically
modulates the frequency of the
oscillator and interesting thing here is
that you can select whether this applies
to ask one or oscillator one or also
that’s not true so you can modulate the
pitch of the first oscillator B without
affecting the second one
I think that’s it for the hard well
Parnell now we’re going to move in the
screen here hoping my mouse gonna be
nice with me
no sorry about that maybe you can
I resize the software like that I hope
in see that maybe
into oh ok so let’s just
with this size and by the way yes for
those of you who don’t know our
interfaces on all the collation
instruments are resizable so if you have
Retina display or very old MacBook
prints in each you will be able to have
a clear representation of the instrument
which is cool ok so yes for as I said in
the beginning we have here the functions
that we have on some of our products
basically these are I would say loopable
envelopes that you can use like a step
sequencers for example as well because
it’s it’s synchronized to the tempo if
you want you have the option to
different modes for these functions are
that you can loop as you can see here
the point moves and it clips you can
retrieve them from the keyboard playing
but we can use them as well as classic
envelopes with by deactivating the
looping feature let’s just assign
something here
it’s reasonable which late that’s a one
frequency increase the amount now you
see that the pitch of always evolved
with the function representation here
and the thing that’s in is
interesting and actually that we didn’t
do in previous products is that we made
this function polyphonic so you have
this option here that like the envelope
on the hardware will you will have one
function per not played if you want to
activating this feature which is real
interesting so let’s hear it really
easily and it’s able on the on the pitch
because because it is
all right and yes little thing
interesting here is that you have
of the function for the functions and as
I said at the beginning and use them as
envelope but since they are loopable
you can use them like elephants as well
so for example here I have a pseudo line
wave which is a source of modulation
that I can use on the synthesizer
and you have yes different shapes square
also – you have more original stuff like
offset something like that some weird
shapes but you can obviously draw
everything about your head by hand if
you want to alright and that’s it for
the functions you have four of them so
for different modulation sources that
you can really customize as you as you
want and create some crazy crazy
modulation or any parameter emits I say
I would ever say any parameter that is
represented by a knob under hardware and
some of the advanced parameters as well
and yes then on the right you have this
matrix which is the modulation matrix that
which is the same as the one we’ve
already done on some products so
basically you have four lines which
represent the sources from further
dilution sources that you can assign to
any destination that you want so it’s
the same destinations as the function
and you see that there’s plenty of them
so please see plenty of of them to play
with and yeah so you have velocity as a
source keyboard tracking after touch
which is reacting as a poly after touch
which is interesting on this polyphonic
synth the mod wheel and the next to last
one here is a bit special is label F and
we added that because on the of the X a
you have on the filter section you have
on the oscillator section story, you have
the possibility to assign the filter
envelope to the oscillator to pitch
which is cool and but here we wanted to
provide more flexibility so we added
this as a line in the mutation matrix
and now you can actually use the filter
envelope from the hardware here on any
of the destinations that you have
available ok and then the last thing on
the on the screen
panel is the effects panel and it’s yeah
you have three effects slots and for
each one you can select an effect among
the eight nine nine sorry available
effect these are the latest effects
we’ve developed from the most recent
synthesizers most of them are on
pigments on TV or on the recent one so
in this song very cool so let’s hear it
I hope this patch is not too up
yeah a bit that’s actually on a new
preset and because I really love the
feature let’s apply some stereo spread
and as I said yes at the beginning here
there is no effect applied the stereo
signal here is just stereo spread
function and we can add a bit of reverb
and yes it’s not you the delay here but
let’s use some of a drive because of a
drive reverb is very interesting so
yeah and then what is maybe a phaser
yes so that invites you to try an
experiment with those so these are a way
to really spice up your sound from
within the instrument which is really
cool and then you can just make presets
with some effects and is the same preset
in a different project that you can recall
from the preset browser here
and I think that’s it yes the last thing
I didn’t mention here that you can route
the effects either in series so it goes
from effect 1 to effects 3 here is the
theory or in parallel so you can process
each on individually and the summed up
mixture at the end
all right I think that sits for the
overview of the product I think we cover
most of it so the really important thing
to remember here and the first thing we
should try it when we you will try the
product is this little stereo spread
function here which is really pretty
cool and you don’t find that actually in
many / software yeah please try it first
okay and now what I’m gonna do is to
make you listen to a bit to a little track
I prepared we 5o big sigh instances and
I hope you like it
I can run it
I don’t know what’s happening here
okay let’s go for free obviously
instances running at the beginning
I’m adding another track
and alas track
okay so that was five a big say instant
since running to do this little patch
here let’s go
maybe nuts maybe we won’t be able to do
it and I don’t know what what’s
happening with my mouse but
maybe I should try to unplug and plug it
back we will it will walk otherwise we
will have to stop the patient here
yes my colleague here
adjusted me that I use the trackpad
actually I have the same issue
I found it
so we found the issue that’s funny for
those of you who watch the show Silicon
Valley you will find the riff you will
understand the reference
here the headphones that Kier used to do
the demonstration was lying on the
keep warm up my external keyboard and
there was a key which was pressed
constantly so that’s why the mouse
was not working well and in the show
they actually delete all data base off of
content which is way worse than that all
right that was further it’s a lie like
that but we can continue here so we’re
gonna just solo indeed individually the
a big save e instances and here our they
all sound so the first one brings some
pads with some notes let’s hear it
okay the next one is the preset I really
enjoy it because it’s kind of a dreamy
detune pad the kind of song that would
fit really well in the I don’t know
break beat or acid track with creamy
right one way one thing I didn’t mention
but all the presets in the five
instances here are factory preset that
you will file in your instrument I
didn’t do an Impala fication on them
then you have the base which is really
cool because as one born in the 90s this
reminds me of the PlayStation opening
sound the bass sound that you hear in
I hope you guys recognize it maybe they
used Alexei Alexei we don’t know
and then arpeggiated preset which is
Rick you know if interesting so I’m
gonna open the UI here and it was
designed by was designed by my colleague
Victor Morello and he uses the most kind
of the function here that we saw earlier
so basically he uses the function 1 & 2
as kind of step sequencers so to change
the pitch of Sol so 1 & 2 not at the
same time but it’s basically used as a
step sequencer and because it’s you can
sync it to your dough you can yeah if I
change the BPM or whatever it will stay
in sync, so that’s a really interesting use
of the function let’s hear it hear it
and yes on that I also did a little
automation and what Matt will
– you here to filter opening like that
okay and the last instance is a preset I
designed personally which is in the bank
and I try to get most of the little
addition with it in the software and
first yes Larry let’s hear it
so here you see that the MIDI signal
which is sent to the Big C instance is
just sustained note and yes what I did
here is that
I used the arpeggiator and I modulated
the rate of the arpeggiator so you can
hear that it’s moving differently each
time and we will see why right after
that and as I said before the thing
interesting here with the appreciator is
that you can set it to the random mode which
basically will output any note summed on
the chord that you’re playing on your
keyboard randomly and as we mix depth as
the is not from supposed to up to four
octaves as well here
and yes here you see on the function one
that I modulated the right of the
arpeggiator so when it moves here for
example if here it’s at the maximum it
will create faster appreciated
sound and the cool thing I did here had
fun to do here is that I mapped the
keyboard tracking on the function one
length or the more the higher the note
is the faster the function one will play
and I did I do yes so here if I play
really low notes here that it’s evolving
but not as fast as if I play right at
night you see that it’s so fast that
sometimes it just catches some values on
the on the function
so yeah that’s was a way to create some
randomization on the patch and yes I
tried to do some kind of generative
inspired stuff so each button you
can there is actually no pattern in the
sound and it sounds differently each
and yes that’s it yeah one thing which
is interesting as well as that I’m
mapped keyboard tracking on the filter
so the more I do iron art we play the
more cutoff will be open but as well the
fastest function one will play and
modulate the rate of the arpeggiator and
is the life Speaker last thing I want to
mention on this one is that I play a bit
with the cross-modulation that we saw
earlier on the two oscillators and since
it’s it’s continuous so you have a knob
with a whole range of values instead of
buttons on the original we can really
and then by modulating this
but it’s very sceptile but it can create
some yeah at some detuning sometimes and
yeah that’s that fun I found it
interesting to add as well
all right I think we were I reached the
end of the content I planned for this
presentation so now I’m gonna I’m gonna
answer your questions and I hope there
is lots of question that you have asked
on the chat so yes
first I have a reminder that we do a
special pricing on this product which is
doing which is running until June 9th
which is that if so the price of the
product is 199 euros or dollars but for
the lunch offer you can get it at 149
and if you are a naturally our customer
being maybe hardware or the V collection
or any other products you can benefit
from a price of ninety-nine zeros and
dollars and the last price because we
love you guys the V collection seven
users can have can get this software for
49 eurodollars
sorry yes to benefit for the special
prices I know you are an author your
customer or avocation user you have to
login into your account to see the new
prices to appear on our website
okay so the first question is is it nks come
vegetable right now so no and the reason
is that we need to make native
instrument very date or presets to make
the preset compatible with nks but we
already submitted these presets to them
and yes it usually we might take maybe
amounts to be available so you can
expect it to be all about in around 1
months or maybe 2 months maximum
so will this have pulley aftertouch or
MPE compatibility we are don’t have M
being compatibility for the moment maybe
that something will out later but we
have polyester touch on these
instruments we judge that it’s really
important to have that on such a
beautiful polyphonic synthesizer
we’ll do bake sale filters reported to
pigments or as a standalone there is no
plan to do that now for now but maybe
that’s something we could do if you guys
think that interesting interesting
is there a subdivision is there are
subdivisions by Irish preset not sure to
clearly understand the question that
maybe you mentioned you you are asking
to find we said that I have been used by
the band rush quite easily no we don’t
have that for the moment but something
we usually do with an ERG lab who analog
lab for individual instruments at the
end is that we can do some tributes on
banks which are retracting preset from a
specific band so if you really want that
please submit your quest on the chart or
on the social network and we will do it
if you want that
emulation software engine behind this a
big heavy is the new
not sure to clearly understand the
question is if by the Malaysian software
engine you think about the way we
modeled instrument it’s not new because
that’s something as I said at the
beginning we used on the book lies LV
for example or orders in TV
lettuce one-way lettuce analog
synthesizer we modeled but it is
relatively new because it was not
possible in the past because of the bu
not being as powerful as right now so
now we are as I said at the beginning we
are able to run the virtual model of the
secretary of the big say inside up for a
game so
I think that’s it you have a last
question it’s the moment to post it
otherwise we will end here the last
thing I want to mention as well is that
we will include Obi XIV in the next
iteration of the VIII collection which
is which will be the collection 8 and of
course if you buy the OBC a big heavy
now you will have a special price on the
recollection 8 when it will be released
can you finish by replaying a bit of
your truck yes let’s do that
all right so thank you, everybody, I hope
this has been instructive and sorry this
has even used the will to try the
software and yeah continue to make great
music and see you in a bit
thank you
NEW PRODUCT ? On #Tuesday at 6PM (CEST), Arturia will announce the #launch of a brand #new product, worldwide. Join us for a special #livestream event hosted by our dedicated product experts Baptiste and Pierre to learn all about your new studio must-have. Set up your alarm and get ready to jump! ? Tuesday 19th May ? 6PM Berlin (CEST) // 5PM London (BST) // 12PM NYC (EDT) // 9AM LA (PDT)

The LIVE | Product Launch video was embedded from Youtube channel “”. Video source

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FAQ Arturia

  1. Connect your MicroFreak to your computer via the USB connection. …
  2. Launch the MIDI Control Center.
  3. If it is not immediately displayed, select the MicroFreak in the “Device” drop-down list in the top-left corner.
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  • Software: The Arturia KeyStep doesn’t ship with any free synths or VSTs (which is fine since most serious musicians already have their own VSTs). It does ship with the Arturia MIDI Control Center. This little tool lets you control every Arturia controller, from the BeatStep to The Laboratory.

    Update your firmware and get access to the newest functional improvements

    1. Launch the MIDI Control Center application.
    2. Connect your KeyStep to your computer.
    3. Turn the unit on, then select KeyStep from the DEVICE list in the top left corner.
    4. Make sure you are connected to the Internet.

    How do I install Arturia V collection on an external hard drive?Just create an Arturia folder on your external HD and then put a symbolic link to it into your Library folder, installing the plug-ins, everything will go into the external disc.

    They can also process external signals like the MicroBrute does. You won’t be able to use its knobs or sliders, they don’t send MIDI. If you want an analog mono synth that can also act as a basic MIDI controller you need a digitally controlled one.

    Minilab and latest GaragebandThe Analog Lab software standalone, outside garagebandworks perfectly, also with the older garageband. Other than that, the Minilab hardware works great on garageband 10.0. 2, and any other audio unit plugin i have works fine.

    Arturia KeyLab Issues with Firmware Update. If you’ve recently updated the firmware for your Arturia KeyLab, you may be experiencing an issue where the unit no longer boots in Performance mode. To fix this, simply do a factory reset by holding the + and – buttons while turning on the unit.

    How to update my DrumBrute Impact firmware?

    1. Connect your DrumBrute Impact to your computer via the USB connection. …
    2. Launch the MIDI Control Center.
    3. If it is not immediately displayed, select the DrumBrute Impact in the “Device” drop-down list in the top-left corner.

    Firmware Update

    1. Connect your device to your computer.
    2. Start the Midi Control Center.
    3. Go to Device/Firmware Upgrade or click on your device’s firmware revision.
    4. Then carefully follow the firmware upgrade steps.


    1. Connect KeyStep to your computer using USB.
    2. Open the Arturia MIDI Control Center software (download it for free at
    3. Select KeyStep from the dropdown menu.
    4. Select Firmware Revision, and Update.

    Thomas@ArturiaOn MacOSX, programs are stored in /Library/Preferences/Prophet-V2/save. On Windows Vista and Seven, programs are stored in %ProgramData%\Arturia\Prophet-V2\save. By default, %ProgramData% is C:\ProgramData. Creating a backup of these files is a good approach

    Connect your MicroBrute to your computer via the USB connection. Make sure not to use a USB hub. Launch the MIDI Control Center.

    Alongside these, you’ll find a conventional five-pin MIDI input and a bi-directional MIDI/USB port that allows you to use the MicroBrute as a tiny remote keyboard. Remarkably, it’s both polyphonic and velocity-sensitive when used in this fashion, and also sends pitch-bend, mod wheel, and octave information.

    How to Get Started

    1. Go to the Account Creation page. …
    2. Check your e-mail to confirm your account, then go to Register a new Product.
    3. Select Analog Lab Lite, and enter your serial and unlock code.
    4. Download and Launch the Installation. …
    5. Launch the Arturia Software Center and enter your Login informations.

    It’s a free version of synth plugin Analog Lab Lite!Analog Lab gives you streamlined access to 550 of the hottest presets from Arturia’s award-winning V Collection. Featuring sounds from all 21 faithfully modeled vintage keyboards, combining awe-inspiring sound with exceptional ease of use and awesome features.

    Analog Lab is clearly a bargain even with 40 presets less and also great for finding sounds if you have the V Collection. But it adds latency compared to the full instruments (about 0.7 ms tested and measured)… not that it’s obvious but it is a wrapper and probably meant more as a demo

    Adding Arturia plugins into FL Studio. Once signed into Arturia Software Center, you must “activate” the Arturia plugin. To do so click on the “Activate” button. Sync button on Arturia Software Center will retrieve any updated license info from your Arturia account.

    To import previously exported Presets / Banks, please follow these steps:

    1. Open the concerned plugin.
    2. Click on the picture / plugin name on the top left.
    3. Click the Import button.
    4. Select your previously imported file.
    5. The preset/Bank is now available in your preset browser.

    Analog Lab is a marvel of software design, combining every synth and keyboard audio engine from the instruments of V Collection in one place. You wouldn’t know it by just looking, though. We’ve kept things simple and intuitive. … Simple, effective, intuitive, and ready to help you make music.

    Arturia MiniLab w/Analog Lab VST. The MiniLab seems to work great in FL as a generic controller. However, it’s a bit of a pain to get it to play nicely with Analog Lab VST…it *doeswork, it just isn’t as convenient as it ought to be and setting up the VST isn’t all that intuitive.

    Getting started with the KeyLab Essential is simple and straightforward, but Arturia are always here to help. In this video, Guy Perchard gives a quick overview of the controller, and guides you through its setup.

    Synthopedia. This is the real deal. 800 red hot, cutting edge sounds that take 12 of our software synths to exciting new places. Included for free with V Collection 7, and available as an add-on for users of Analog Lab 3 or 4, Synthopedia lets you play the sound of tomorrow’s hits, today.

    The company designs and manufactures electronic musical instruments, including software synthesizers, drum machines, analog synthesizers, MIDI controllers, sequencers, and mobile apps.

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    About Arturia

    Focusing on innovation, Arturia strives to integrate the latest advances in computer music research and technology into its products. This involves working closely with partner research institutions, such as IRCAM France, in the development of cutting-edge musical instruments and software, which have gone on to be used in making many hit records and Hollywood soundtracks.   Founded in Grenoble, France, in 1999, Arturia specializes in the development of music software and hardware for professional and amateur musicians. We are a team of passionate people dedicated to musicians. We dare to create original and different instruments, imagine new experiences and reinvent products.
    Operating in 55 countries, we have offices in France, in the USA, and since 2014 in Mexico.  

    Arturia’s Mission

    We aim at providing musicians with a unique means of creation for unforgettable performances. Focusing on innovation, we strive to integrate the latest advances in computer music research and technology into our products. This involves working closely with partner research institutions, in the development of cutting-edge musical instruments and software. Our instruments have gone on to be used in making many hit records and soundtracks.  

    Arturia’s values

    We concentrate all our know-how on the customer experience and the simplification of uses. This translates into intuitive instruments, and close relationships with musicians. Innovation is at the center of our concerns. Our pleasure is to extend the technological boundaries to offer extraordinary musical experience, with a great attention to design. We dare to create unique and different instruments We dare to imagine new experiences We dare to reinvent products that have been confiscated by giants of the market. Being demanding with ourselves every day allows us to reach excellence. Our easy-to-use and innovative products, good sounding and powerful instruments are the results of intense work.