Here we are finally talking about Arturia Minilab again (if you haven't read the first part of the article you can find it here. To address this time the AnalogLab topic, that is the analog synthesis plugin supplied with the small master keyboard. The software integrates perfectly with the hardware creating a powerful and versatile hybrid in the studio but above all practical and functional live.
AnalogLab can work safely even without Minilab and is available for Mac and PC in a stand-alone version and as a plugin VST, Vst3, AU e RTAS.
Installation and Setup
The product is not supplied on optical media in the packaging of the Minilab and therefore it is necessary to download it directly from the Arturia website. The quite small size (approx 500 Mb) allow downloads in acceptable times even for those like me who do not have a fast ADSL connection. The version used for testing, the 1.05 for Mac, is available in the classic dmg format containing the pkg for the execution of the setup. At the end of the installation procedure it is necessary to register on the Arturia website and enter, in addition to the usual personal data, the serial-number of the product so that the system can generate an unlock code for the application. Everything ends in a few minutes and without any particular problems. In my case it was also necessary to request, after a few days, a new unlock code following the replacement (due to breakage) of the MacBook Pro hard drive. The new code was provided to me within a few hours.
A quick look
The modest number of megabytes of the package compared to the number of promised presets (approx 5000), immediately suggest that we are not talking about sample-based PCM synthesis, but about real analogue emulation of physical models. The library is in fact composed of a set of sounds from the well-known and award-winning virtual synths by Arturia, which have been present with enormous success on the DAW market for several years.
In detail we are talking about: mini V, Modular V, CS-80V, ARP2600V, Jupiter-8V, Prophet 5, Prophet VS, Oberheim SEM V e Wurlitzer V. In short, the best “virtual” you could wish for in a single centralized and completely organized solution in a large database of meticulously cataloged sounds.
In fact, the same synthesis engines of the virtual synths developed and marketed individually by Arturia are hidden inside AnalogLab. The advantages of having them concentrated in a single workstation are different, such as using a single graphic interface, being able to switch from one synth to another without annoying window changes or having the possibility to combine different synthesis engines with extreme simplicity. The only operating environment, on the one hand the strength of the software, is however also its weakness because the sound editing suffers greatly from the lack of the original synths interfaces. In reality it is not only this that limits the editing of sounds, as the parameters on which it is possible to intervene are still few regardless of the graphic interface. This obviously for a clear marketing policy since we are talking about software provided in bundles and a masterkeyboard economic range. In all cases, the product is not to be considered entry-level: for professionals who have the complete version of the tools, AnalogLab offers the possibility of using the power of its database in addition to the versatility of the individual tools: the software recognizes eventual presence of Arturia plugins installed in the system and allows the total editing of the sounds present in the catalog directly in the complete operating environment, ensuring the subsequent saving (with relative tags) within its database.
The interface
AnalogLab is presented in a single fixed size window (Fig.1) in which more or less all the available functions are placed. The layout is designed with retractable panels that are hidden and displayed according to the operation being performed.
In the OSX applications menu bar there is a setup item containing only the choice of the "knob mode" setting (circular or linear), while the preference item contains the audio driver settings with relative buffer size and sample rate and the selection MIDI device for control. There is also a button PREF which displays a window with the software credits in full screen and proposes the setting of some other parameter such as ram allocation and the height of the screen (the smallest size is already sufficient to completely occupy the 13 '' display of my MacBook) .
On the left, for each of the operating modes, there is always the list of sounds, while the space on the right is reserved for:
- filters to search for sounds in single mode
- editing window in multi mode
- organization of sounds in live mode.
In the lower part the panel with the available controllers is shown (in variable number according to the master used) with the addition of pitch bend and modulation. All the designed controllers can be activated not only with the hardware connected but also by mouse action. At the two ends of this panel there are two serigraphs that hide as many sub-panels: on the left we find the snapshots while on the right the agreements. We will find out later what it is.
Operating modes
Analog Lab can operate in three different modes according to what is now more or less the operating standard of any software or hardware keyboard instrument:
Sound: this is the default operating mode that allows quick exploration of the entire sound park in the software. Considering the large number of available presets (about 5000) the list has been organized as a database so it is displayed in columns on which it is also possible to sort. The information shown is name, type, belonging synth, approval and designer, all data that allow you to have precise indications regarding the type of sound in question at a glance. In this mode, the space on the right is reserved for search filters, which can be used in two representations. The first, very scenic, called Studio (Fig.2), allows the choice of the synth through a bitmap image depicting all the synths emulated by the software (it seems to have been catapulted into the studio of JM Jarre); by positioning the mouse on the synthesizer of interest and clicking on it, the list is reset automatically, making only the presets that belong to that synthesis engine visible. The Filter view (Fig.3) operates in a more precise way, behaving like a real database query panel: a list of attributes is displayed on which it is possible to put the check mark to include or exclude certain sounds in the search. The sounds can be searched by instrument of belonging (ARP2600, CS-80, etc.), type of sound (bass, Lead, pad etc.) and characteristic (Acid, Ambient, Dark etc.). In this view it is also possible to operate on the basic editing functions such as polyphony, key mode (mono unison and poly), step of the sequencer / arpeggiator, pitchbend range and LFO sync.
Multi: usually indicated as “Performance” on all the most popular synthesizers (motif, juno etc.), it allows the combination in split and in layer of two sounds of the sound mode. This mode is interesting because in addition to the possibility of playing two presets at the same time (even belonging to different synthesis engines), it allows the addition of two effect processors in send (but usable in inserts with the right volume setting and pre-fader selectors) which, even if rather meager in the possibility of editing, give greater authority and depth to the programmed timbres. The choice of effects is wide enough and ranges from classic reverb, delay, phaser, flanger etc. to the most contemporary bitcrusher, destroy, subgenerator, vocal filter and other. In this mode, about one hundred pre-programmed presets are provided and search filters cannot be used.
When operating in multi mode, the right part of the screen is used entirely for editing the combo (Fig.4), complete with a graphic display of the key ranges and transposes, the volumes and panpots of the individual parts, the effects sends and the pitch bend, modulation, aftertouch, sustain and expression assignment matrix.
Live: essential to bring our favorite sounds on stage, it provides the possibility to program a mixed list of sounds and multis in a sequence of 128 easily recallable positions to which it is possible to assign a program change. The right part of the screen in this mode is filled with the list of 128 programs with relative program changes and the name of the song in which they are used (Fig.5).
Integration and use with Minilab
The use of AnalogLab with MiniLab is disarming simplicity: just connect the keyboard to the computer and run the software in stand-alone. The device is recognized and set as a default midi device. The software synchronizes with the hardware which is forced to run in a specific mode while completely ignoring all eight scenes previously stored in the device. In practice, the keyboard sets itself on a sort of non-modifiable “nine” scene, dedicated exclusively to operation with AnalogLab. For this reason the keyboard's physical rotary encoders take control of the virtual correspondents drawn on the screen without the possibility of being divided (Fig.6). The first encoder at the bottom left is dedicated exclusively to changing presets: turning the potentiometer scrolls the list of sounds without having to put your hands on the computer mouse or keyboard. The one at the top always on the left is dedicated to the general volume of the instrument. The remaining fourteen potentiometers, on the other hand, can be freely assigned to about twenty synthesis parameters that fully represent the editing capacity of the software synth. Let's just talk about cut off e resonance filters, oscillator volumes, envelopes, lfo rate and level of chorus and delay and little else. Clearly in multi mode it is necessary to choose which synth (part1 or part2) to control. The names of the parameters may vary slightly between one synth and another (eg the resonance of the CS-80 becomes the emphasis on the mini V) but basically the available functions remain the same for all synthesis engines.
Using the MiniLab it is clearly completely useless, indeed even harmful, to use the midi learn function, unless you have an additional controller to be dedicated perhaps to real-time modification of the effects in Multi mode.
The parameter assignment sets to the controllers are globally for the two modes Single and Multi, ie they are not saved together with the selected preset. However, it is possible to save the configuration in an easily recalled scene file.
In AnalgLab there is neither one Drum Machines nor a sampler, therefore the use of eight pads of Minilab is relegated to the functions of snapshot selection or execution of agreements.
Snapshots and Agreements
In all three operating modes the sanpshots and chords panels are always available (Fig. 7 / 7b). The panel snapshots offers the possibility to store on the ten keys available as many timbres most used in our performances (usually piano, e.piano, hammond and clav in various shades) making them immediately available at the moment of action with the mouse or with the first bank of pads available on the connected Arturia master. The chords panel instead offers the possibility to quickly compose eight chords (usually usable with the arpeggiator) of which it is possible to preset pitch and chord (maj, min, 7 etc.) and then always operate them with the mouse or with the second bank of pads available. This feature, although very useful, suffers from two small problems: the first is that to press the pads using the mouse is practically impossible as you always end up with the opening or the popup for selecting the pitch or chord. The second problem, to which I spent several hours of testing without finding a solution, is that if you want to use the chords keys with arpeggiator sounds, it is not possible in any way to change the default BPM.
Use with other masters
AnalogLab can naturally be used with any kind of master keyboard. The software, if it doesn't find connected Arturia peripherals, proposes as default configuration a keyboard with ten rotary encoders and ten vertical faders more clearly pitch and modulation (Fig.8).
I did some tests with my little M-Audio keystation32 without having any problem playing the notes and assigning the only knob available. Much more fun, however, was using an old one Yamaha An1x, with its eight knobs and ribbon controller. Midi learn (fig. 9) was very simple: once the MIDI key is pressed, the on-screen controllers light up red if assigned to synthesis parameters and purple if assigned to effect parameters or to part 2 of the multi mode ( here maybe using a third color would have avoided confusion). Just click on the on-screen controller you want to assign and then move the hardware potentiometer you want to associate with it. Et voilà that's it.
What cannot be changed by learn is the assignment of the chord pads. They will always and only continue to respond to midi channel 10 and to notes from C1 onwards. Therefore, if you intend to use them (for example I tried with the akai mpd32) you need to program the controller to transmit those notes on channel 10. Same goes for the snapshot keys: you can take advantage of their functionality by working on the controller. The response of the controllers is always fluid even using the classic MIDI port instead of the more modern and fast USB connections.
The sound
After all the topics covered so far, we still haven't gotten to the most important thing in the article, which is to try to describe AnalogLab's sound quality. Those who already know Arturia's software know well that the TAE (True Analog Emulation) technology, specialized in the physical modeling of the circuits of classic analog synthesizers, is very sophisticated and precise. In fact, the virtual instrument sounds incredibly good, all the synthesis engines are made with extreme detail. The sound is full-bodied, greasy and dirty to the point of leaving very little room for anything else in any studio or stage situation. In the studio it is necessary to contain the power of Arturia with precise equalizers and delicate compressors as it tends to take up too much space in the mix. In live, the very low latency allows you to use it as a real analog hardware synthesizer with a gritty guitarist-proof character!
I personally liked the power of the Mini V leads and the precision of the Wurlitzer. The latter, apparently quiet and in the background, is instead a very well done emulation: with the use of the distortion device it manages not to mix the medium-low frequencies and not to shoot on the medium-high unlike most of the emulations in circulation .
On the other hand, I found the emulation of analog clipping slightly annoying (a function that is documented quite poorly) which, if in the headphones it is still bearable, in the monitors it leads to continuously checking the overload LEDs of the audio channel to understand where the problem lies. . Clearly this preference is very subjective, some might just love that characteristic way of distorting the old analog synthesizers. I am not a lover of the emulation of defects, I prefer technologies that eliminate them completely, so I preferred to always keep the “soft clip” button off.
Between tests, I experimented with AnalogLab's sound filtered by some saturation plug-in and amp-simulator, but honestly Arturia's analog circuit emulation doesn't need these gimmicks to be warm and present. Much more interesting instead to use the sonic paste of AnalogLab synths with latest generation plugins such as Turnado by Sugar ByteSW Zebrify (the audio processor of the Zebra2 synth) from which you can come up with some very interesting sounds.
CPU usage is a bit fluctuating: you go from sounds that engage the cpu around 3% also with numerous voices of polyphony, to sudden peaks that even reach up to 70 % with certain presets. I guess this is due to the different synthesis chains implemented in the individual presets; the synthesis engine of modular v, for example, can be extremely variable in terms of complexity depending on the type of sound. Unfortunately, some system crashes with sudden application closure have not been missed.
As a plug-in in a DAW
In addition to being a synthesis workstation, AnalogLab is also a plug-in compatible with the most popular formats and therefore usable in audio production software such as Cubase, Logic, Live etc. Having the sounds of AnalogLab in the DAW offers the advantage of being able to intervene on them with precision instruments such as equalizers and compressors or to add higher level effects (hardware or software). While using the Main Stage I found that using a host program you can finally play the arpeggiator presets at the desired bpm.
Even when used as a plugin, the use of the cpu is very dancer, which makes it dangerous to use live in combination with well-known resource-sucking software. However, I have never had a system crash in this mode.
Conclusions
Arturia AnalogLab is an inexhaustible resource of ready-to-use sounds, excellent to use in any production or live music context. It offers practically all the timbres of the historical synthesizers of the 70s and 80s (still very popular) together with a practical operating environment that allows its selection and use without unnecessary waste of time.
I believe it can be the ideal instrument for all “practical” keyboard players, that is, those who play a lot and play little but also for virtuosos of other instruments who need to insert keyboard parts in their arrangements; even without being a synthesis expert, with AnalogLab it is almost always possible to find the sound we need.
But probably if we are DJ to the last cry and we seek Dubstep sonority, or we are precursors of a new musical era and therefore we want to control every single oscillator and lfo, this is not the plugin for us. However, considering that it is supplied in boundle with a small master keyboard, the typical user is precisely the "mobile" keyboard player who needs a light and portable instrument and therefore, finding such a powerful workstation in the package can only be a welcome gift.
Pro
- Very large library
- Very high quality emulations
- Live mode
- Low price
Cons
- Slight instability
- BPM in stand-alone mode that cannot be changed
- Absence of Drum Machine / Sampler
the next
Pasquale Tarricone
