![]() ![]() The main UI gives you all the basic 303 controls – pitch, cutoff, resonance, env mod, decay, accent, and the waveform switch, plus a row of trigger-able buttons and HOLD. But let’s look what’s going on on the interface. If you just want a strong 303 emulation, some more out-there acid-y extras, and a bunch of preset patterns and sounds, Arturia of course has you covered. So let’s instead assume that what’s appealing about Arturia’s take is the ability to expand on what a 303 is and add in other ideas. I doubt seriously you’d choose this one for authenticity alone, though, given the competition from Roland Cloud, Audiorealism, and D16, among others. The Acid V sounds really good, and you can tweak it in a way that makes it sound like original 303 hardware – or even what you imagine sounds more like the original hardware – with voice settings. There are also some nice extras like the ability to map the hold to a sustain pedal. ![]() 3 modulators, routable to nearly everything (only the voice settings are missing – you can even route modulation to sequencer rate).Randomization for generating new patterns.Advanced 64-step sequencer/arp with scale constrain feature (and yes, you can define custom scales).Voice settings for tweaking parameters, akin to 303 hardware mods (filter cutoff range, pulse width, etc.).Sub oscillator (with rect, saw, and sine waves and octave control, and the ability to pair with bass boost). ![]() Vibrato (including per-step sequence control).So let’s start with what’s on the Acid V that isn’t on an original TB-303: The Acid V looks like a 303, and covers all the basics with their usual oversized skeuomorphic look. ![]() But with Acid V, they’re moving into pretty crowded waters, as a hardware and software recreations of the Roland original abound.
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