Review: Arturia - Analog Factory Experience
by Glen Heffner - 20 July 2008 -

Not too many weeks ago, I was working in my studio office when my UPS driver appeared at the door with a box.  I was on the phone so he just turned the cardboard box sideways so I could see that it had come from somewhere in Connecticut.  I just nodded my head and pointed toward the Wicker furniture that is located throughout the office.  He placed it on the small sofa “love seat” and there it stayed for almost two weeks.  Not only did it not have any markings on the outside to give me a hint of what might be inside, but I had also mistakenly thought,(with a lot of self-confidence I might add), that it was a box of promotional materials. Was I ever mistaken!

Fortunately, the wonderful and ever considerate Vanessa Giraudet with Arturia, (www.arturia.com) contacted me soon via a phone call.   Vanessa knows that it is unusual not to hear back from me after a short while.  “Thanks again Vanessa”!

Since then, I’ve been busy exploring what Arturia claims is “The First Hybrid Synthesizer”.  Christened the “Analog Factory Experience” (from now on to be called “AFE”), my confidence in the name of this combination keyboard controller and software package bearing the “perfect name” is now completely supportive as you will soon see.

Please tag along for my assessment into what may perhaps be the first 32 note keyboard /software package that is a MUST HAVE PRODUCT!

THE KEYBOARD CONTROLLER

FIRST IMPRESSIONS:

As soon as I lifted up the once ignored box I was surprised at the obvious weight. What was in that tiny box?  After all, it just didn’t look that that big of a package!  Removing the outer carton, I promptly acknowledged the typical stylish “Arturia approach”.  Arturia has always created a striking package for their products.  Maybe some people don’t care, but I always value a company that puts the time and work required to have an attractive, functionally designed box.

 It just lets you know that after the hard work that they did to create their product; they are not going to just throw it into anything.   Conversely, not only was the external box very eye-catching, but the interior portion was well designed and the packaging was first class. This was to make sure the enclosed keyboard, manual, software, and cables were safely protected during shipping.  The box while most certainly not a road case could certainly hold up as a travel case for a while too!

THE KEYS:

Immediately upon lifting the keyboard out of the box, I felt like I had a product of genuine substance in my hands.  Weighting slightly more than 8 lbs, I noticed the attractive sloped wooden sides, beautifully wrapped aluminum around the unit and a keyboard bed that looked firm and tight.

I’ve had more than 4 “mini-keyboard’ controllers and have mostly come to dislike playing them.  That’s because the keys feel very light with almost no resistance or so “mushy” that I think that I’m playing a keyboard made out of bread...  The moment I had positioned the keyboard safely on my desk, I immediately started playing the keys to evaluate the “feel” and response of them.  Guess what?  The keys were solid yet fast.  They had a nice resistance to them but felt firm and very reactive to quick playing. This is actually a tough thing to accomplish.  Either the keys are really “clacky” with almost zero resistance (but you can play really fast) or they are tight and not quite fast enough.  The “AFE” has just the right amount of tension when pushing keys down and a perfect “bounce” for quick return.  I found the keys to be ideal for any synth key bed. I realized that the “look” and feel of the keyboard were already adding to my “Experience” and I had just started examining the keyboard.

THE REAR PANEL:

Looking to the rear of the keyboard, I was happy to see a nice “rocker” On/Off Switch, a DC Power jack, USB Plug ,(the “AFE” is powered by USB and receives/transmits MIDI via USB also), Sustain and Expression Pedals plus a MIDI Output.  Even better was the fact that Arturia (or CME who partners with Arturia in supplying the keyboard), made sure that all connections were mounted flush in the back of the keyboard.  Outstanding!

THE CONTROLS…and the…

Scanning across the top of the keyboard I quickly discovered a very logical layout with the Pitch/Bend and Modulation Wheels mounted directly above the keys on the left hand side.

I personally prefer this because this 32 note velocity sensitive wonder isn’t extended another several inches needlessly.  This only adds to the AFE’s compact appearance and excellent design integrity in my opinion.  If you are a “Wheel Player”, I believe that many will find the keyboard to be more comfortable because of the location.  In the past, I’ve found myself having to use my right hand to hold a note (and the keyboard at the same time) to keep the keyboard from flying away.  That’s because I was pushing on a Wheel at the end of a very lightweight, unbalanced mini-keyboard!

Encoder Knobs…

Continuing onward, the physical layout has a series of eleven encoder knobs that feel great. A very smooth, uniform “feel” was remarkably reliable on each encoder and only furthered my impression of the keyboard.  These encoders can be turned endlessly in either direction, so there is no worrying about “a starting point”. 

A pleasant discovery is that the first encoder knob (right beside the Wheels), is a “clickable” knob rather than smooth like the others.  This is exactly the way it should be! This first encoder performs “double duty”; consequently it controls Volume in one mode whereas it is selecting Patches in the other.  It is extremely important to have some kind of sensory response especially when moving through those particular parameters.   Imagine having to change channels on a TV with a rotary knob.  Incidentally, this is the only encoder that also has a “push down” click action.  This is built into the knob to enhance the Presets process, a “confirmation procedure” if you will.  For example, turning the knob will step through various Presets, eventually leading to a patch that you want to use for a while. Press down on the knob and it is “locked in” with a nice “click action”.  There are other “confirmation procedures” like selecting a particular type of synth and then moving to another for selection, (this is in the Preset Manager section coming up later).  The point is that when you need to confirm something, this is where you do it.

Color Utilized By Design ….

Selecting an eye-catching cream color for the keyboard serves its purposes well.  The color imparts a striking contrast between the black and white keys. Great visual clarity when attempting to read what is written on the keyboard is vastly improved because the color choices were designed to work for musicians.  I am elated to see a manufacturer recognize that musicians (be they live or studio), generally work on dimly lit stages or in low-lit studios and that most of us welcome this kind of perceptive design.

Control Descriptions… 

The keyboard has black background areas with descriptions of the primary functions of each knob in White across the keyboard. These are the Control Knobs. 

Left to right they are labeled Level, Filter, LFO, Key Parameters, and FX Mix.  That’s PERFECT!  A knob for Volume, two for Cutoff and Resonance in the Filter area, two for Rate and Amount for the LFO, 4 to handle special KEY PARAMETERS and 2 for Chorus and Delay for FX MIX respectively.

What more could you want when playing or recording and you wish to make some artistic variations with a synth?  What’s that?  Oh yeah, it is really important to have an ENVELOPE, (or an ADSR – attack, decay sustain, release), as we “midiots” use to call them.  No problem, because positioned in almost exactly the same amount of space on the right hand side of the keyboard opposite the Wheels are four smooth gliding sliders.

Yes, smooth gliding sliders.  I’m not talking about those sliders that you touch and you don’t know where they’re going to really stop at.  I’ve experienced many ADSR’s sliders in this price range that just could not be depended upon to even come close to your intended settings.  Well, these do!  If you have the “visual” in your head, just move them to that and it will reproduce the setting.

Finally, ARTURIA/CME have given us a controller that has an ADSR that can get the same kind of Envelope responses amazingly close each time with those 4 damped sliders.  I couldn’t come close with two “to be unnamed” mini-controllers in multiple tests… That means that if I have to make a change in a patch during a session in real-time, why do I want to use a controller that doesn’t give me much of a chance of reproducing the move every time?  What if a guitar player got a different tone every time he changed his treble setting to 6?  That’s what I’m talking about here.  Resolution and accuracy should not be an issue period.

REVIEWER’S COMMENTARY COMING ON.

FOLKS, (and I’m speaking mainly to manufacturers here).  I don’t want to appear insensitive, but how about recognizing the significance of what a former software only company has just accomplished. ARTURIA (along with CME) are well on their way to making believers out of a lot of people! 

A mixture of dedicated development teams must have come to the realization that designing a new product wasn’t enough.  Someone or some variation of people inside had the amazing perception to focus on an area that been bypassed by the very people who should know better...  I’m talking about the customer.   The “AFE” radiates with the musician in mind and I think that it “speaks volumes” about Arturia understanding that musicians/studios/producers are on a mission too.  They Want To Be The Best.  They expect the best ideas, designs and consideration possible for the money. UNTIL NOW, most have been a silent group that tolerated careless designs, shoddy builds and expensive prices.  I personally have heard many of these same music pros generating the often heard line “well, I guess that’s as good as it gets for the money". NOT THIS TIME.

MUSICIANS’S TRUST ME ON THIS ONE… A NEW DAY HAS DAWNED FOR WHAT YOU GET, WHAT YOU PAY, AND EVEN MORE IMPORTANTLY TO ME, THIS COMPANY REALLY CARES ABOUT YOU!  GO TO YOUR LOCAL STORE AND COMPARE WITH OTHER SIMILAR PRODUCTS AT THIS PRICE.  (Don’t get me wrong, there are a number of fine softsynth and keyboard companies).  But, which companies are really attempting to satisfy you by understanding your needs?  I’m talking in terms of price, features,(in relation to price also),  going “the extra mile on something like a key bed”, accuracy of controls, the presentation (the “look” of the product), readability, flush mounted plugs, etc…. Oh, most companies have a product that will hit most of these things IF YOU ARE willing to pay the price. Something to reflect about as you contemplates the value of "AFE".  (FYI, I just purchased my 2nd “AFE” this past weekend for my son and I’m getting a third one for a producer friend for Christmas!)  Am I stoked or what!
Whew, I got excited (and I’m only describing the keyboard).  Well hold on, because there’s a lot that you will want to hear about, I promise.

The Switches… and the SHIFT MODE…

Starting with the switches, two of the eleven switches are set up as a clever Octave, Preset group with the markings “+/-" assigned to one switch respectively, (while still being labeled “Octave” and “Preset” in contrasting colors below). A 3rd switch, the SHIFT switch, is located by itself just to the right of this two button group. 

The Shift button is the key to the “double-duty” access possible with the keyboard.  When you press the SHIFT key it will illuminate with a red light. At this point, you have enabled the Shift Mode and it will perform a different function (when enabled (ON), then when disabled, (OFF) on the following 3 combination groups:

1. Level/Search: 

a. SHIFT Mode Off:  Rotary Encoder Knob functions as the Volume Control
b. SHIFT Mode ON: Rotary Encoder Knob is used to SEARCH through the search criteria available for the Sound Library (covered in detail in the next section).  It is important to remember that this is the “Special Encoder” that you can also push down; (the “confirmation procedure”.  When you find search criteria such as “Minimoog”, pushing down will verify that you want to listen to ONLY Minimoog sounds.

2. Preset/Octave :

a. SHIFT Mode Off: the two Preset/Octave buttons are used to step up and down through Presets.  (There is a (-) and a (+) sign respectively above each button to represent “up and down”)
b. SHIFT Mode ON: The Preset/Octave (“+/-“) buttons will function as Octave Up/Down buttons.

Speaking of Octaves, Arturia have come up with a rather cool way to let you know which octave you have selected.  That’s important since you can “transpose” both 3 octaves up and 3 octaves down. That’s a total range of 7 octaves including the original octave that the instrument Preset starts with. 

It works like this.  With each push of the plus or minus buttons, a blinking red light will come on.  Arturia indicates the octaves up and down on the respective button and the higher or lower the octave is, the faster the light will blink with each push.  Therefore, one push (+1 or -1 one octave) is the slowest speed, two pushes, (+2 /-2) is faster, and three pushes, (+3/-3) is the fastest!  Pressing both buttons together will bring the keyboard immediately back to the original octave without having to step through the octaves!  At the original octave, neither of the lights will blink. It’s easy and it works very well.

3. SNAPSHOT/SAVE:

a. SHIFT Mode OFF: Allows you to recall a SNAPSHOT from any of the 8 SNAPSHOT buttons
b. SHIFT Mode ON: Allows you to SAVE all of your own settings to any of the 8 SNAPSHOT locations      

You can store anything including modulation; octave positions, envelope settings, and have “personal presets” all ready for your next session or show by simply SAVING them to one of the 8 Snapshots available on the keyboard...   This is especially nice when using a Midi Interface because you can have 8 of your favorite presets selectable immediately.
THAT REAR PANEL AGAIN…USB and POWER

Since the keyboard is USB powered the only thing that you have to do is install the software on your computer, plug a USB cable from the keyboard into your computer and you are ready to go! It isn’t even necessary to install drivers for the keyboard.  There is a power supply jack available to power the keyboard but the power supply is not provided with the keyboard.  However, the power supply is easily found in any electronics store for around $10-12.  If you plan on using your computer, it probably won’t be necessary but if you plan on playing live with the keyboard as the controller only, then you definitely need one.

MIDI IMPLEMENTATION ANYONE?

Since I mentioned the Midi Interface, I want to point out that the Midi Output on the Experience Keyboard is a Midi Interface capable of controlling just about anything that you want it to.  Don’t forget that the keyboard sends and receives Midi via USB.  The Analog Factory 2.0 software has identical controls as the keyboard so it is ready right away to work with the keyboard.  But how will it perform with other softsysynths and keyboard instruments? 

Fortunately, the “Midi Spec” (a set of rules agreed upon to assure that the entire keyboard manufacturers were on the same page), was settled upon for the most part years ago.  That’s why there is a MIDI Implementation Chart in the back of all MIDI manuals that you get with MIDI products.  The MIDI Implementation Chart has a lot of information but perhaps the most important is the MIDI Controllers List.  This lets you know what the instrument is capable of sending and or receiving.  This is better known as “CC Numbers” or “Continuous Controller Numbers” (usually appearing as “CC10” etc.)

 A Quick CC# (Continuous Numbers) Primer

Now, I don’t want to start “bewildering” anyone with something that you most likely already understand, but for those who want to “be sure that “CC Numbers are clear in their minds”, http://www.cakewalknet.com/ is happy to provide a hand!

CC numbers have been SPECIFICALLY assigned to MIDI commands since the MIDI Spec was developed.  You can’t change the numbers.  For example, if you want to change the Volume of an external synthesizer, you must send a Continuous Controller Number 7, because that is what was assigned to Volume.  If you want to change Panning, you are using CC# 10.  Did you know that every time that a sustain pedal is pressed down CC#64 On Message is sent?  Likewise, when the pedal is lifted up, a CC#64 OFF Message is sent to the receiving keyboard.  [I won’t go into it here but just understand that all CONTINUOUS Controller Numbers really aren’t CONTINUOUS!]  Some are just On and Off, like a Sustain Pedal or CC# 126, Mono Mode (if you decide to change to a really “pat” sound quickly.)

OK, to keep this short; the important thing to understand is that with “AFE” the ability to change CC #’s to match a receiving or sending device is easily accomplished. “AFE” already uses many of the standard CC #’s so you might be surprised just how little programming is required. The keyboard is 100% aligned with the Analog Factory software which means Arturia is already in harmony with the MIDI Spec numbers agreed upon so many years ago. Therefore, turning the filter control on the keyboard will definitely change filtering on the software.  Here’s a good time to point out that since a filter is continuously variable, that is why a rotary knob is perfect.

The “AFE” Keyboard is capable of sending and receiving on all 16 Midi Channels plus System Exclusive information.  It can transmit Note Number, Velocity, Program Change, and Control Changes so you will never have a problem controlling different synthesizers. 

Control Change is what CC Continuous Numbers are all about.  If you have a keyboard and it can control the volume of another synth, I can assure you that it is transmitting CC#7.  If it is controlling Pan, then it is using CC#10, Sustain Pedal, #64 and so on.  Not so hard after all is it? 

Well, check this out.  While the keyboard already has the correct assignments for a number of CC’s, you can change them with the computer software.  Just take the mouse and click on the controller that you want to change while holding down the Control (Ctrl) key.  You will see a screen which provides a drop-down list of CC #’s to choose from. .

Notice that in Photo 11 that there is also a “LEARN” button if you want to control the keyboard from another source.  If so, click on “LEARN” and then turn the control on the external keyboard or Midi Device that you will be using. You could even have a patch that was controlling the Volume on synth, the filter on a different one, ADSR or a 3rd and so on.  Because of MIDI and the fact that you can transmit on 16 MIDI Channels, you can assign different CC #’s to different MIDI numbers simultaneously.  Pretty neat huh?

A KEYBOARD VERDICT, ALREADY?

At a price of $349, the keyboard controller alone is virtually worth the asking price has set for the entire Arturia Analog Experience.   This whole “AFE” program, (keyboard, software, excellent manual and accessories pack a might wallop…
I’ve owned many keyboard controllers since 1984 and I’ve used them extensively, (Kawai M1000, Roland MKB-300, MKB 1000, A-80, Oberheim XK ,Yamaha KX-88, AKAI MX-73, Cheetah Masterseries 7P (it was electronically unreliable, but even by today’s standards, it was an incredible midi controller – if you learned how to use it!).  Someone should buy the code and expand on it…  In any case, I have had at least 40 controllers including all of the usual like Midiman, M-Audio, Novation, E-mu, and Studiologic and on and on…. but…..my point is this….

Over the last three years I have bought 61 key, 48 key, and other variations only to have keys break or the function (which on two of the controllers actually used the keys to change midi channels and such), quit working.  It has been an absolute nightmare.  Just last winter, I did it again and bought another 61 key controller only to have a broken key before I could pull it out of the case that cost almost more than the keyboard. One airplane flight to Michigan and that was it.  Brand new, packed perfectly, form fitted, the works; and it still couldn’t make a flight from North Carolina for gosh sakes…
 I basically have looked at and played different brands over and over again and finally decided that no one was really making a good inexpensive keyboard controller.  Ladies and Gentlemen, without even getting into the rest of this review, please let me tell you right now that this is the exception to the rule!  The Analog Factory Keyboard is an extraordinarily great piece of workmanship and design.  Arturia is not getting this one back!!!  I am thrilled to see what Arturia is doing and yes, there is a real reason for proclaiming this the first “Hybrid” synth.  Coming up…

ANALOG FACTORY 2.0 SOFTWARE

Now, that I’ve told you about the great keyboard you would think that would be the best part of this Experience.  Well, not exactly but they sure got it right when they put the word “Experience” in the name of this package. 

THE SOUNDS

Unless you have been completely outside the world of software synths, then you should know that Arturia has time and time again been acclaimed for their uncanny ability to produce literal software versions of some of the most highly revered synthesizers in the chronicles of Synth History.  I’m talking about the Moog Modular, the Minimoog, CS-80, ARP 2600, Prophet VS and Jupiter 8.  They also moved in a slightly different direction and produced one of my favorite softsynths of all time, the Analog Factory.  The Analog Factory consisted of over 2000 almost immediately captivating sounds that made you feel like you could either start writing a song with the sounds immediately or at the very least you had the inspiration to get moving in a certain direction. The sounds were all from their original software synths, (with the exception of the Jupiter-8V which is a relatively new release).  What is so astounding is that they have since put together over 3500 sounds in a collection that is now called Analog Factory 2.0 and it has sounds from ALL of the synth engines of the great analog synths that I just mentioned!
The sounds are truly the star of the show and you have several other great…, well first, let me fill you in on the particulars first.

THE PARTICULARS:

Computer requirements are as follows:
PC/Windows: 512 MB RAM 1.5 GHz CPU running Windows 2000 /XP /Vista
Mac OS X: 512 MB RAM: 1.5 GHz CPU running Mac OS X 10.3.9 or higher and Universal Binary

You will need an Internet Connection to authorize the product.
The software supports ASIO, VST, RTAS, and Audio Units and also operates as a STAND-ALONE (supported by ASIO in Windows and Core Audio in Mac OS X).

COPY PROTECTION…Oh…No….

The Software is copy protected with the Syncrosoft Copy-protection system.  When you get the Experience, a plastic card will be discovered in the front of the manual.  That is the Syncrosoft Activation Code.  Upon launching the CD-ROM software, the Syncrosoft Software and Drivers will also be installed.  If you have a Syncrosoft USB Key (called an eLicenser), you can install the license directly to your key.  That way, you’ll be able to install the software to other computers and plug in your key to use your complete “AFE” any place at any time.  The USB key does not come with Experience but don’t let that ruin your fun.  Go ahead and install “AFE” to a computer anyway.  Just make sure that is the computer that you plan on using since there is a direct link between the computer and the license number that is registered!  Later, when you get a key, (and you should); it can be installed onto another computer and the license can be transferred onto the key.  Probably the simplest way to do this is to buy the USB key and do the license key transfer from the existing computer that you’ve been working from first… If you read some of my other reviews, I’ve said it many times before.  It isn’t difficult and it is really quite useful since you can carry as many as 128 licenses on one USB key.

DIVING IN…THE SOFTWARE

First look at the softsynth shows Arturia’s typical impressive attention to detail.  But before we go any further, let’s look at some of the things that you don’t see when the software first opens up.

PREFERENCES

There are several preferences that you can setup by clicking on the Arturia Logo on the virtual keyboard.  

 These Include:

1. Show Animation- which will activate various animations
2. Show Control Popup When “Mouse Clicks On Control” – When you click on a modifiable parameter, information will be displayed.  The default is set to ON.
3. Show Control Popup When “Mouse Rests On Control” –Basically the same as above except you wait a few moments and the parameter will display.  The default is set to ON.
4. LCD Color – Arturia offers several nice looking screen colors to choose from.

THE TOOL BAR

Across the top of the synth is a strip of Icons that offer essential information or functions for quick access.  To address them from left to right, they are:

1. Preset, Instrument and Type Names that display the name of the current Preset, Instrument and Type
2. Save As: This will modify any of the Presets and then save it.  IT WILL ALWAYS BE SAVED AS A USER PRESET!  A window opens that will let you name and classify the preset according to TYPE and CHARACTERISTICS. (PHOTO 15)
3. Delete: allows deletion of a User Preset.
4. Import: With this, you can import additional Presets into your own personal collection of User Presets
5. Export: This allows exporting User Presets.
6. Midi In: Midi Activity light that flashes when signal is being received.
7. Tune:  A tuning control to maintain control of tuning.
8. View: Three clickable ICON views that you can choose from:  Just the keyboard, the Preset Manager or All of Analog Factory.

NOW HOW DO I FIND THAT SOUND AGAIN?

One of the first things that I started thinking about as I started working with this software was how I was going to find the type sounds that I was looking for quickly.  I mean when you have six Vintage Synths with 3500 sounds to shuffle through how are you going to do that?  Fortunately, the Preset Manager is so well-thought out and is such a great asset that I think you’ll soon agree with me.

THE PRESET MANAGER

The Preset Manager employs an excellent Preset Management System that classifies and filters the Presets inside Analog Factory 2.0.  On the left side of the Preset Manager are the Filters.  They are:
Instruments, Type and Characteristics...

The Instruments refer to the six Vintage Synths upon which Analog Factory gets its sounds (i.e. Minimoog, Prophet V and VS, CS-80V, Moog Modular V, Arp 2600 V and Jupiter-8).  Clicking on anyone of them will immediately produce a list of all the sounds of that particular instrument in the Preset Manager.

Type takes it further by offering 12 instrument types such as Brass, Guitar, Piano, Strings, Pad, Bass, etc.).  Clicking on anyone of these will further help to make choices even more selective.

Characteristics are the final filter but it offers 18 choices that describe a type of mood or style.  Some of these include Ambient, Ensemble, Soundtrack, Funky, Bright, Dark, Digital and so forth.

The BEST part about the Preset Manager is that selecting any combination of multiple choices between the 3 filters is totally acceptable.  So, if I wanted to find Pad sounds that were Soft, Ambient and was created on a Yamaha CS-80 or a Jupiter 8, no problem. I would just select CS-80 V and Jupiter 8-V in Instruments, Pads in Type and Soft and Ambient in Characteristics.  Nice, but there’s more!

Once you receive the results, the number of entries found appears at the bottom right of the Preset Manager and then more sorting is possible with Filter Options.

Filter Options, located above the three filters are labeled:  RESET, FAVORITES, and USER.

RESET simply removes all of filters so a new search can be started
FAVORITES will only search in the FAVORITES list.  FAVORITES are selected by checking a box in a FAV column that will then add each sound that is selected into a FAVORITES list.
USER represents USER PRESETS which means that it will only search through the artist’s USER PRESETS.

Now you might think that would be a fairly good way to really dig down to what you might be looking for right?  I did too, but I was wrong. There are actually a few more things available to sweeten this whole deal.

Located on the right hand side of the Preset Manager is Current Preset Information or an “Identity Card”.   A picture of the original instrument along with the following is shown every time a Preset is selected:

Preset: the name of the current Preset
Instrument: the specific Vintage Synth selected
Author: the creator of the particular Preset
Polyphony: the number of available voices for the preset
Edit Preset: IF the current Preset is a USER PRESET, you can edit the Preset with your own information.  A screen is available to add your own Preset Name, Type, and Characteristics.

I’LL SHOW YOU ORGANIZATION!

It is very clear that the Preset Manager was designed to make the “Experience” not just a good one, but a very intuitive one as well.  The development team must have decided at some point that they should go just a bit further and they did…

ORGANIZATION OF THE PRESET MANAGER

The Preset Manager also offers different ways to view the results of a Search.  Every time that a Search has completed, the default View is found in the middle of the screen under the title PRESET NAME.  Presets are automatically arranged in alphabetical order from A to Z.  Here is how to access other Views:

INSTRUMENT: Clicking on this column name will alphabetically re-organize the Vintage Synths
TYPE: Clicking on this column name will re-arrange the instruments by TYPE, once again alphabetically.
CPU:  Clicking on this column name will sort out CPU usage from 1 through 5, with 1 requiring the least amount of CPU and 5 being the most demanding.
FAVORITES: (FAV) : Clicking on this will sort based on general usage or perference. 

THE CONTROLS ON THE SOFTWARE SYNTH ARE….

Exactly like the controls on the keyboard (except for the repositioning of the Mod Wheels) so I’m not going to go through them again. Nevertheless, a computer offers distintive advantages that are important to remember.  For example, from a computer you can:

1. Edit and Save your sounds
2. Change the Continous Controller Number Assignments of various Encoders
3. Use it as a software synth with your favorite host sequencer
4. Use it as a Stand-Alone Program with any keyboard or keyboard controller, sequencer, ect.
5. And more that I’m probably missing…

SO IS THE ARTURIA ANALOG FACTORY EXPERIENCE THE WORLD’S FIRST “HYBRID” SYNTH???

YES!  YES!  YES!   Without a doubt.  Arturia has managed to take the convenience of using a dedicated synth keyboard and then equip it with the power of computer based software to provide incredible sounds along with multi-functionality all in one package!  Stand-Alone softsynth, a softsynth plug-in, or a great live or studio synth keyboard, (not to mention a keyboard controller), it’s all here!

This is the first instrument that I KNOW THAT I CAN TRUST.  I can grab my computer laptop, my 8 pound keyboard controller and I’m ready to handle just about any studio session that I’m called upon to do!  The same can be said for live shows too.

I’m throughly impressed with this package, the way it performs, and at $349 it should be on your short list to buy NOW!  For those of you who already have a copy of Analog Factory, you can purchase the keyboard, manuals, etc. as the Analog Factory Upgrade for only $249 and you can update to version 2.0 software for FREE. 

Now is there anything that I would wish for?  Well, of course.  I would like to have more than 8 Snapshots, (maybe in an update hmmm?), and there are a few really intensive sounds that can start eating up some serious CPU cycles, (but the incredible sounds are worth the cycles).  On the other hand, for the most part, a good computer won’t have any trouble with the vast majority of the Presets.

The only other thing that I can say about the Analog Factory Experience is that Arturia has stepped boldly ahead into the future of keyboards.  The Hybrid Keyboard is here and they have created it shimmering with class from the playability of the keyboard to the breathtaking sounds that Arturia are legendary for.  The Analog Factory Experience will have you going back to this keyboard more than you’ve done with any other instrument in a long time.  Why?  Because it’s fun.  Couple that with the huge collection of sounds, immediate editing, saving of your own USER PRESETS, and it is almost impossible to walk by it without spending at least a few minutes of “playing time”.  It is that irresistable.

If you have been looking around for a synth, just bring to a close your delaying and go hear and play this instrument.  Take my word for it, this is the coolest  $349 that you will have spent in a long, long time. 

Some might voice objections and say that this is nothing more than a keyboard controller and a software package but you would be wrong my friend.  It is all about the ingredients and who made them all “taste right” first.  Just like the famous candy, Reese’s Peanut Butter Cup, made of mostly peanut butter and a milk chocolate shell, it is still one of the best selling candy products in the world.  What’s my point?  Well, peanut butter and chocolate has been around a long time, but it was the mixture in the proper porportions that made it right. 
Arturiais did everything right with Analog Factory Experience also.  A controller keyboard with exceptional playability, logical layout, fantastic build, cool features and designed for the consumate professional, yet perfectly priced for the 1st timer also. Software featuring the same engines from their internationally praised softsynths except Arturia didn’t take the easy way out by just copying  their former sounds. Instead they produced 3500 superlative sounds and then added an incredible Preset Manager to make sure you could get around the sounds quickly. 
Then Arturia really makes the “Reese’s Peanut Cup”.  They unearth all the ways that the keyboard controller can function by itself, be connected to the software and immediately played, or programmed by the software (or an external midi device), and function on its own if desired. 
In the meantime, the Analog Factory software is producing the same extraordinary sounds inside any sequencer that is being used, operating as a stand-alone with any keyboard while functioning as an unlimited library storing  User Presets endlessly since you can tweak to your heart’s delight!!!

I guess what I’m saying is that they are great pieces separately but the MAGIC happens the moment the keyboard is plugged into the computer loaded with Analog Factory software.  That is when you realize that this is THE FIRST HYBRID SYNTHSIZER AND IT HAS BEEN DELIVERED WITH ALL THE PROPER INGREDIENTS IN EXACTLY THE APPROPRIATE PROPORTIONS. 

Honestly, I don’t think that I could have comprehended an Analog Synth with the Engines from Arturia’s Greatest Software, a Keyboard Controller that just oozes with features and feels good while playing it and then Interfacing coupled in such a way.  Interfacing between keyboard and computer, external keyboards/midi devices with the controller acting as the interface to the computer, the software controlling the controller, the keyboard controlling the software, and even the keyboard and the software simultaneously working together with their “TWO WAY COMMUNICATIONS”….I’ve got to stop! 

Put it this way, I am simply BLOWN AWAY… SERIOUSLY…..  I’ve had Analog Factory Experience for some time now and I have not lost a single bit of my enthusium for this groundbreaking product. I’ve carried it everywhere, moved the rotary knobs and the sliders more than most people would do in 3 years and they feel as good as the day that I opened the box.
 
My suggestion and view is simple.  If you have ever desired to possess the sounds of THE ANALOG INSTRUMENTS THAT SHOOK THE WORLD , you have a Creative Streak, (because the SOUNDS WILL ONLY INTENSIFY THAT CREATIVITY),and a computer, then Go Get ANALOG FACTORY EXPERIENCE WITHOUT HESITATION.  It is absolutely the best thing that I’ve seen since, well, since Reese’s Peanut Cups.

How sure am I about this product?  Let me put it this way.  I get a lot of email with questions about some of the products that I’ve reviewed and I personally answer everyone that writes me to the best of my ability.  If you’ve read this and you still have questions, I’m REQUESTING YOU TO EMAIL ME AT:  This e-mail address is being protected from spam bots, you need JavaScript enabled to view it   That’s how strong I feel about this $349 product.

Congratulations Arturia for this very real advance in technology and price by producing THE FIRST HYBRID SYNTHESIZER and for proving that  IT COULD BE DONE RIGHT THE FIRST TIME. 

Glen’s Grade: FIVE STARS times FIVE STARS!!!  That’s simply off my own chart…

 Glen Heffner is a midi specialist, keyboardist/composer and engineer located in North Carolina, USA. He has a Bachelor of Music degree in Piano and operates an all digital studio. Currently he is working on an instrumental CD and completing a film score. You can check him out at www.majormidi.com or contact him at This e-mail address is being protected from spam bots, you need JavaScript enabled to view it .