Applied Acoustics Systems Ultra Analog VA-3
As well as the existing LP, HP, BP, Notch and
Formant ilter types, VA3 boasts a new Ladder
algorithm, for a colourful Moog-style alternative
to the regular low-pass. Beyond that, each path
hosts the same envelopes and lexible multi-
destination LFOs as VA2, all assigned and
controlled directly from their modules, rather
than in any kind of modulation matrix. What you
no longer get, however, is VA2’s ‘details’ panel,
which is a shame. This dedicated a section of the
interface to viewing any one module from either
signal path (VCO 1, Filter 2, etc), revealing extra
controls that weren’t visible in the main UI, but
also, as a beneicial side efect, enabling that
module to be kept in view while navigating the
rest of the synth in the tabbed pages. The ‘extra’
controls are now kept in slightly awkward pop-
out panels, and we preferred the old setup.
The big architectural story with VA3, though,
is the implementation of true multitimbrality,
enabling two complete synth ‘layers’ to be
stacked or split across the keyboard. To be clear,
each layer is efectively an entire VA3 in itself,
complete with its own efects rack, mixed using
the controls at the top of the Editor (which we
reckon should also be accessible on the Home
page, as they can be fundamental to the sound
of a patch), and feeding into a third master
efects rack. The presentation of all this in the
Editor page couldn’t be simpler: the two layers
sit adjacent to each other, with the tabs and
panel keyline for one coloured brown and the
other green, although this colour-coding doesn’t
carry through to the modules themselves, which
are consistently grey. For totally intuitive
orientation, the two colours should really
pervade the layers in their entirety.
Anyhoo, the two layers both range across the
whole keyboard by default, but clicking the Split
button (housed, weirdly, in the engines’ Modes
pages, despite being a single shared property)
assigns layer 1 to the bottom of the keyboard
and layer 2 to the top, with the dividing note
selected via a menu. Easy.
Back to those efects, and each of VA3’s three
racks (one per layer, and master) comprises EQ,
Compressor, Reverb and two multi-efects
modules, just as VA2’s single rack did.
However, the menu of multi-efects processor
choices now includes the other three modules,
as well as new Guitar Ampliier and Tremolo
options, on top of the incumbent Delay, Chorus,
Flanger, etc. You can now drag modules to
reorder them, too.
Age of Ultra
We’ve always loved Ultra Analog’s focus and
simplicity, and despite the addition of a whole
second layer to the synth, those values remain
very much at the core of VA3. Yes, the interface
is a bit fussy, and the ‘details’ view is missed, but
the improvements far outweigh those issues.
The multitimbrality and per-layer efects
literally double the sonic power and versatility
on ofer, and the ability to copy complete layers
between patches encourages experimental
mixing and matching. But most importantly of
all, the whole thing just sounds awesome, from
basses, leads, keys and plucks to pads, arps, FX
and everything else you could ever ask of a
high-end synth.
With elaborate wavetable and sample-based
instruments increasingly dominant on the soft
synth landscape, Ultra Analog VA3 is a
spectacular reminder that pure analogue
emulation is still as relevant as ever.
Web applied-acoustics.com
Applied Acoustics Systems
Ultra Analog VA-3 $199
Verdict
For Multitimbrality is a huge upgrade
Resizable GUI and slick new browser
More efects options
Superb and enormous preset library
Scala tuning support
Imports your VA2 patches
Against Layer colours aren’t pervasive
Home screen could ofer mixing controls
Twice the synth it was, Ultra Analog VA3 is
an exemplar of virtual analogue synth
design with some nifty tricks up its sleeve
9/10
Alternatively
u-he Diva
178 » 10/10 » €215
Combine modelled components
from a range of legendary
analogue synths
Synapse Audio The Legend
238 » 9/10 » £89
Unmissable emulation of the
classic Moog Model D
Ultra Analog’s Play panel is now,
puzzlingly, called Modes, and it
furnishes each layer with a variety of
playback options, as well as an
arpeggiator/sequencer, and VA3’s all-
new Macro controls.
Glide time (ixed or interval-
dependent, with Legato on/of) and
vibrato (with fade-in and Delay) are
adjustable, and you can activate two or
four unison voices for detuning and
per-voice delay.
The arpeggiator ofers all the usual
directional options plus a Chord mode,
and three transposition styles.
Rhythmic programming is enabled by
the 16-step Pattern track, which simply
allows steps to be turned on and of,
with no pitch ofset, velocity control or
other sequencing niceties.
The four Macro knobs are named
Modulation, Timbre, Envelope and
Efect, but while the factory presets
keep them within those described
remits, they’re really just suggestions,
as each can be assigned to any four
parameters from all modules in the
layer. The Macros are easily linked to
MIDI controllers in the Settings screen,
and although the inability to change
their arbitrary names is a niggle, they
make it a snap to set up live patch
editing schemes for use on the
stripped-back Home page.
A la Modes
Pile on the processing with layer and master efects,
including new Guitar Amp and Tremolo modules
Once assigned in the Modes panel, the Macros are primarily used in the Home screen
“The big architectural
story with VA3 is the
implementation of
true multitimbrality”
January 2020 / COMPUTER MUSIC / 95
applied acoustics systems ultra analog va-3 / reviews <
CMU277.rev_ultraanalog.indd 95 08/11/2019 09:53