Arturia Origin Review

Mar 1, 2009 12:00 PM, By Marty Cutler

           
 

A HARDWARE SYNTH GOES RETRO—OR DOES IT?

Eight Live knobs flank the display. Assigned to mix parameters and effects settings in many of the patches, they can also control any of the Analog section modules. The Live mode page is a marvel of informational graphics, and color coded Live knobs, clearly visible joystick and macro assignments, and access to edit screens are only a single button push away.

Adipose Rex

The Origin sounds every bit as good as its capabilities suggest. Patches range from positively obese and warm pads to biting leads and punchy bass, all of which — thanks to the overabundance of real-time controls — can radically change character on a Bush-era dime. Fluid Arpeggo (sic) uses the joystick to turn a genteel arpeggiated flute into an undulating, metallic rasp (see Web Clip 1). I'm a fool for tonal pads with evolving inharmonic content, and Behind the Glass takes the cake (see Web Clip 2). Bode Pad uses a Bode Frequency Shifter model to produce subtle, shimmering metallic overtones (see Web Clip 3).

Part of the ever-changing beauty of many sounds comes from a 2D Envelope — a multistage looping envelope with a choice of four destinations — and the Galaxy LFO modulation feature, which was ported from the Jupiter-8V (see the November 2007 review, available at emusician.com). Additional sonic motion arises from modulation embedded within the Origin's step-sequencer tracks.

Points of Origin

With everything the Origin has going for it, there's not much room for improvement. Having at least six MIDI channels in support of Mono mode would be a MIDI-guitar-friendly gesture. And Arturia needs to fix some gaps in the manual; for example, I'd like a thorough explanation of the absolute and relative settings for macros. The manual text refers to the Live knobs but supplies no callout for them in the graphics. Despite those omissions, the user interface is so easy to grasp that I reached for the manual mostly just to get the names of things straight. The synth invites you to learn by doing.

The Origin is not inexpensive, but you'll be able to creatively plumb its depths for a long time to come — especially considering Arturia's commitment to new modules, features, and templates (see the online bonus material at emusician.com/online_exclusive/arturia_origin_review_bonus). I didn't have room in this review to cover many features the unit offers right now.

Writing for EM, I've witnessed many evaluations of products based on whether they are evolutionary or revolutionary. With its innovative coupling of classic synthesis and contemporary musical-instrument technology and design, the Origin manages to satisfy both criteria easily. This is the first hardware synth I've wanted to buy in nearly a decade; need I say more?

Marty Cutler and studio fiddle ace Kenny Kosek are currently purveying eclectic banjo-and-fiddle music with a smattering of electronic assistance.

PRODUCT SUMMARY

PROS: Terrific, animated sounds. Generous supply of modules. Powerful modulation capabilities with flexible routing. Brilliant user interface with intuitive controls, navigation, and display. Versatile mixer options.

CONS: Gaps in documentation.

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