File size: 240 MB
Farfisa V physically models the unique characteristics of the Farfisa combo organs that helped define the Top 40 sounds of the ’60s-complete with enhancements that help you forge new sonic territory today.
The sound of the ’60s, the sound of today
The Farfisa V brings you sounds that will never get old.
Imagine the fun you can have with the classic Farfisa combo organ sounds behind ’60s chart toppers like Strawberry Alarm Clock’s “Incense and Peppermints” and The Grass Roots “Midnight Confessions”. Those eternally happy bubblegum sounds made a comeback in the ’80s in the hands of Blondie, Talking Heads and others, and are still cruising today in retro pop, rock and reggae. The Farfisa V is super simple to use and 143 presets from top sound designers assure that you’ll get right down to rockin’ out.
If you’re an organist, you’ll love playing this gem. If you’re a producer, you’ll appreciate having the unique ear candy of the Farfisa V in your vintage collection. And if you played a combo organ back in the day, prepare to groove on waves of nostalgia courtesy of an old friend.
Infuse your music with the cheerful essence of surf and sunshine. Groovy, baby!
Like all Arturia vintage instrument homages, the Farfisa V is completely true to the original.
That’s because rather than sampling, we use our proprietary physical modeling technology to recreate in software the exact sonic characteristics of the original under all circumstances. Press any button and it responds just like the hardware. It even looks like the original. If you ever wanted a Farfisa, this is a Farfisa.
Playing the Farfisa V is just like having the real thing -except this one doesn’t have cigarette burns on the keys and will never break.
More than just an organ
The Farfisa V is what would happen if an organ and a synthesizer had a love child.
The original Farfisa already hinted at the synthesizers to come with features like key repeat and a rudimentary envelope. The split keyboard option let you assign either one or two of the lower octaves to a separate bass sound. There was also a cool knee lever that manually controlled a filter, like an early version of a wah. (Of course, you can map that to the controller of your choice on the Farfisa V.) We’ve taken our modern version way beyond all that, though.
Pop the hood of the Farfisa V and you get tons of extra creative options like the ability to design your own additive waveforms, select new waves for the bass section, set offset filters, customize the envelopes to shape your tone, and more. On the floor, you’ll find a vintage amp and a collection of old-school stomp boxes already plugged in and ready to party -and the settings for the whole rig are saved in your presets.
The Farfisa V goes further than any traditional electronic organ, giving you options to infuse your music with new sounds that make people sit up and pay attention.
Physical modeling of the dual-manual Farfisa Compact Deluxe plus pedals
Upper manual, lower manual and bass pedal sections
Selectable bass key range to cover 1 or 2 octaves
Bass Sharp/Soft control to change tone of bass section from Flute to Strings
Percussion section with adjustable decay times
Includes classic stompbox-type modeled effects
Simple drag-and-drop to change FX order
Guitar amp simulator output for vintage live sound
Convolution reverb with custom classic spring reverbs
Sync – allows tremolo to match host computer tempo
Repeat Sync – allows Repeater to match host computer tempo
Individual voice tuning
ToneDraw: Additive/wave draw sliders
Selectable bass waveform with 4-pole resonant filter
User waveform with additive synthesis and wavedrawing modes
Upper Attack and release envelopes
‘Knee lever’ for tone / wah control via expression pedal, mod wheel or aftertouch
Polyphonic or Paraphonic operation
Supports MIDI splits or independe
Redesigned Preset Browser interface
Added 50% zoom size
Added maximize height button
Improved GUI integration in DAWs
Improved retina / multi-screen GUI support
Instruments user interfaces now open properly on case sensitive OS
It is now possible to process audio at different sample rates with RME Babyface audio interfaces
No more crash happens when deleting two tracks with the same instrument in a DAW
Sharp automations applied to on/off type parameters now work properly in AAX
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