V Collection X

Reference instruments for music makers

The art
of sound design

V Collection is a marvel of music technology, but even the best-sounding synth and keyboard models would be dull without the incredible work and imagination of their sound designers.

Veterans of the industry and young upstarts alike, for more than a decade we’ve worked with some of the most talented musicians, producers, and sound designers around to create sounds that both honor the past, and help you create the future.

On this page, we pay tribute to the amazing men and women who helped create the signature sounds of our V Collection instruments, and give you an insight into their creative process.

Amped CP

( Jerry Kovarsky)

My favorite preset is called Amped CP, and I love playing it. Running the sound through the guitar amp gave it some nice saturation and tone, and I added some slight chorusing to keep the sound animated. Experimenting with the two reverbs I used allows me to create a wide range of spaces for the sound to sit in. I hope you all enjoy it as well!

Jerry Kovarsky - on CP-70 V

About Jerry ↓

The CP-70 was an interesting attempt to deliver a real piano experience back in the days before sampling and physical modeling. It didn't sound exactly like an acoustic piano, but it had a piano action, strings and hammers. Viewed from today's perspective it has a charm of its own, and is an essential instrument for musicians looking to cover prog-rock and old-school R&B.

Arturia's version captures the classic sound, and gives us all deeper control over the sound than the original ever did. I especially enjoyed the extra character that the microphone signal offers, the envelope controls and the wealth of effects provided to work with.

As I always do when working on an emulation of a known instrument, I immersed myself in all the classic tracks that featured the instrument. There's not a lot of range to cover; it's mostly about effects and EQ treatment, so I trusted my ears to create a range of sounds that covered the tonal and effects processed sounds possible. Having a guitar amp, rotary speaker and all the pedals made it easy to get creative with the sound.

Man-Machine

( Kuba Sojka)

My favorite preset is Man-Machine, because it reminds me of raw techno from Berlin in the 90's and the Love Parade and Mayday parties of that time.

Kuba Sojka - on Mini V

About Kuba Sojka ↓

The most important thing is its simplicity and classic sound, I also like what happens to the sound when using the drive and feedback parameters. Then the instrument becomes crazy and you can create unusual sounds.

I tried to create sounds that would be rich in harmonics and would be interesting in terms of filter modulation to achieve effects similar to those of an electric guitar.

Release Falling Pad

( Katsunori Ujiie)

CS80 V4 has innovative improvement on not only sound quality but also awesome functions. Especially the behavior of analog feel is almost perfect compare with real CS80. This sound has cool analog sound of rich and fat atmosphere, and I programed very sensitive and dynamic polyphonic aftertouch. And most specific point is Pitch facing down when you release key. This magic is made by Pitch-envelope in modulation section. You should check how to work it.

Katsunori Ujiie - on CS-80 V

About Katsunori ↓

CS80 V has innovative improvements on not only sound quality but also awesome functions. Especially the behavior of the analog feel is almost perfect compared with a real CS-80.

Release Falling Pad has a cool analog sound, with rich and fat atmosphere, and I programed very sensitive and dynamic polyphonic aftertouch - specifically the pitch falling down when you release key. This magic is made possible by the pitch envelope in the modulation section. Try it out!

Lofi Henri VIII

( Diego Tejeida)

The preset named LoFi Henry VIII is one of my favorite patches on the Prophet-5 V for various reasons: I am a big fan of tape and tape machines, especially if they are old and the heads are magnetized, as they add a lot of flavor with their wow and flutter. The patch LoFi Henry VIII has a slow, pitch-drifting LFO that adds that broken tape sound--not to mention that the core of this patch comes from a constant pulse width modulation on VCO 1. No other machine produces a PWM tone like the Prophet does!

Diego Tejeida - on Prophet-5 V

About Diego ↓

Over the past 10 years, as my synth collection has gotten bigger, I’ve been moving away from the software synth world. There is simply no comparison between clicking a mouse and staring at a computer screen and the immediacy of tweaking knobs and experiencing the sound first-hand. The Prophet-5 V, however, has a beautiful GUI that makes the experience as organic as it gets in the software world - and its sound is absolutely spot-on! Only the Prophet has that crunchy PWM sound, and the Prophet-5 V brings you that exact sound as soon as you start modulating - not to mention the added option of being able to control the voice dispersion. To me, these added imperfections make a sound real.

Every time I get a new synthesizer (or effect processor, plugin, etc.), I spend a long time studying the machine - reading the manual, learning how to operate it. After that, the first sounds I usually program are my bread-and-butter sounds. These are some of the signature patches that I have developed over the years. In the process of programming patches I use a lot - and that I have programmed many times on other synths - I start discovering the special features or unusual behaviors the new machine has. For instance, the cross-modulation feature with oscillator 2 applied to the filter on the Prophet-5 V produces very rich harmonics and movement that no other machine is capable of. When the new machine's unique behaviors have been revealed, creativity is already planning what sounds I could try that would be impossible to make on any other machine.

Weeping Of Moon

( Andrea De Paoli)

This pad sounds so incredibly mutable and evolving, it produces a lot of different inspiring nuances from huge and spaced sound territories, to thin tuned spatial sweeping, sounds moving slowly back and forth. This sound gather some of the unbelievable and infinite sound capabilities of the Prophet-VS V. The sound is like traveling in a spaceship cabin through space and time towards unexplored territories.

Andrea De Paoli - on Prophet-VS V

About Andrea ↓

The main strength of the instrument lies in the powerful combination between four mixable waveforms and the vector joystick for controlling your sound modeling. The chance to further automate the path of the vector lets you make your sound move in every way possible! I love the straight forwarded interface and the intuitive powerful advanced panel to sculpt and modulate the sound as a fundamental sound design plus.

Normally when I sculpt a sound I begin from an amp envelope (like a Pad or a Bass amp envelope) or starting from a combination of waveforms sculpted with filters then I use every weapon that lies in the synth to make the sound exciting, alive, emotional, dark, sometimes with a targeted idea, often reaching unexpected territories thanks to the inspiring power of this synth.

Anticipation

( Gustavo)

For my preset Anticipation, I wanted to create a solid cinematic pad with increasing tension, for which I periodically modulate a string component +1 semitone. Then, as the modulation happens in the second bar of holding a note, you can play legato to control the tension. This, plus other increscendo modulations, and creative use of the effects buses, make this patch a perfect "oneman-band" for film scoring.

Gustavo - on Augmented STRINGS

About Gustavo ↓

I love how the high-quality multi-samples effortlessly blend with the synth engines producing something new and unique. Every aspect is very polished, the synth engines' palette is endless, and if you are in a hurry, there are hundred of engines' presets to start playing with. The modulation system is perfect for a dedicated instrument, and the effects -which I consider a vital part of sound designing- are beyond expectations.

The string samples are top-notch, very detailed, and super-rich harmonically speaking. By exploring them, I started to have a lot of sound design ideas (that I quickly wrote, afraid I might forget something). Anyway, this instrument is so full-featured that there are multiple places you can start sculpting your sounds, and the inspiration always hits you, followed by some happy accidents that will make your sounds stand out.

Richard Veenstra - on Augmented STRINGS

About Richard ↓

The morph knob is one of the unique features of Augmented Strings. An orchestral string sound quickly turns into a digital synth and you can automate all macros to create unique and expressive sounds. The effects and modulations are all super easy to apply to the most important features of the instrument.

I wanted to create new sounds with the instrument, sounds that are not possible to make with other synthesizers or instruments. I strived to look beyond what a string instrument can do and tried to make sounds that are expressive while playing and easily incorporated in several musical genres.

Voice Computing 2.0

( Tobias Menguser)

It was difficult to find a favorite preset, as I really enjoyed sound design on this project, which resulted in many favorite presets. Voice Computing 2.0 is a weird combination of real and computer voices, granular modulations and additive shifting all in one sound. Really organically evolving textures can be created with this sound easily. Believe it or not, this audio demo is only one sound with a few automations.

Tobias Menguser - on Augmented VOICES

About Tobias ↓

The big unique strength is the possibility to combine deep sampled instruments with high quality real time synth engines and effects, not to forget the convolution engine. This combination allows hybrid sounds of a new generation and quality level.

I was deeply inspired by the source material (multi samples and synth presets) and it was more about curating how those sources fit together, adding filters, effects and modulations and make best possible use of the great Macro system.

Night Ride

( Marco Iodice)

A simple patch with a huge and dark result. The preset consists of two detuned saw waves, triggered by an arpeggiator. The spice of the patch comes from Channel A of the sequencer: it gives dynamism to the sound modulating both filters rhythmically. I really enjoy using the Timbre Macro dynamically to change the oscillator waves and Mod wheel to detune the sound.

Marco Iodice - on KORG MS-20 V

About Marco ↓

The work done on the two filters of the instrument is incredible, using them and experimenting with the resonance is pure pleasure. Compared to the original hardware there are some very convenient additions in the patchbay, which give the possibility, for example, to modulate directly the PW or the VCA. I think the pearl of this software is the addition of the sequencer, a powerful tool that adds many more possibilities of sound and modulation!

I usually create macrogroups in my Daw, divided by typology of preset, so as to have from the beginning a clear picture of the sounds on which I will work. A fundamental part of my process is surely the inspiration that the instrument transmits to me. KORG MS-20V has a specific magic: even a very slight filter movement can make a huge difference to the sound result. This made the process enjoyable and unpredictable to me. I found in this Arturia's recreation everything I expected from this synth: warm sound, unpredictability, hours of fun. One of my first approaches to hardware synths was with a KORG MS-20 of a friend. After years, having had the chance to work on some presets of this software version is an amazing feeling to me! The addition of sequencer and effects make this synth even more beastly and will ensure you a lot of fun while creating your patches!

Down Not Out

( Tom Hall)

My personal favorite preset is ‘Down Not Out’. To be honest I was going for dark but as I pushed deeper into this preset I couldn’t believe the movement I was able to achieve - I particularly like the ebb and flow of the harmonics. There's actually not really any special back-end tweak to this preset, most of the movement is achieved through the modulation on the front panel, much like the original hardware.

Tom Hall - on Jup-8V

About Tom ↓

The new Jup-8 V plugin from Arturia is incredibly versatile.

Additive Piano

( Nori Ubukata)

When working on sounds for the 'Shoufuku ROM' of the DX7 II, I found that FM+ additive approach was a really effective way of creating synth piano sounds. To get the best effect at the time, I would have needed to use 12 operators. Unfortunately, the original DX7 only featured 6. Because of the new architecture inside DX7 V, my original ambitious ideas can become a reality.

Nori Ubukata - on DX7 V

About Nori ↓

From my experience with the original, FM synthesis is a familiar tool for creating sounds. The DX7 V offers two huge improvements on the original, firstly that it's so much easier to operate, letting you set specific values, and secondly that it sounds much, much cleaner. There is less aliasing and noise compared to the original.

Magic Pendant

( Joshua Fielstra)

My favorite preset is Magic Pendant. While I enjoyed playing and creating more upbeat presets, there is a mellow -- almost mystical -- quality to this preset that makes it a joy to play. Wide open chords played at a leisurely pace sound great.

Joshua Fielstra - on Wurli V

About Joshua ↓

One of the best things about the Wurli V3 is the tremendous range of sounds you can get with it. Unlike static samples, you can dial in the sound of any genre or time period. For a few presets, I even created instruments that sounded more like a hybrid guitar than a piano!

As I often do, I surveyed the large number of parameters available in the instrument rather than start with a particular sound in mind. I then went about creating presets based on what was possible, rather than what was expected. There are many types of sounds I wouldn't have imagined if I hadn't been carefree with the parameter values.

Hit & Rise

( Quentin Feuillard)

Impactful and energetic preset morph to the other side with a more granular ambient sound, with a 4 bar evolution.

Quentin - on Augmented WOODWINDS

About Quentin ↓

The samples inside and the presets engines are the must have to get inspiration. The intuitiveness of the Morph parameter to blend your two creations and the evolving capacities with macros and modulators give you an infinite possibilities ! The MPE in that type of product push his expressivity to the maximum !

Listening the engines and the content give me the first idea, and I develop the rest with all modulators. The macros definition is very important to change drastically the sound with some knobs tweaking.

Psychedelic Sally

( Paolo Apollo Negri)

It's a pretty simple preset, upper manual uses a single drawbar (4') together with second percussion (normal volume, slow decay), which is an old trick to enhance the percussion sound. Using the envelope on the upper manual I made a slow decay and this, together with the strong percussion sound, made the preset pretty psychedelic, something perfect for '60 style lounge music.

Paollo Apollo Negri - on B-3 V

About Paollo ↓

I really love the new version of the classic B3, the sound engine has been strongly improved and if you close your eyes now you feel like you e playing the real beast! The add of the pedalboard, the possibility to choose over different Hammond classic models and the new pedal rig really made this new instrument to shine.

Big Space Keys

( Jean-Baptiste Arthus)

On this preset, I was experimenting with the Spectral synth mode; it was one of my first patches. Backward/Forward looping gives that reversed delay affect, I'm using the sawtooth wavetable and the new reverb we added within V Collection.

Jean-Baptiste Arthus - on CMI V

About JB ↓

It is noisy, it's a natural bitcrusher, you can put any sample in and at the end have something totally different. The spectral synth, that is a new added feature, is an easy way to use the additive synthesis without too much programming. It also opens up more possibilities for modulation.

Pierre Pfister - on Clavinet V

About Pierre ↓

What I really love about the clavinet is that it has such a unique and clearly identifiable sound to it, but it's still extremely versatile. Most people just think of "Superstition" when we say the word Clavinet, but it can also be much smoother as in the track “Liquid Love” by Roy Ayers, where the Clavinet has such a heart-warming tone.

Funk AD

The Funk AD preset is one of the few presets where I decided to add a personal touch to the faithful and clean sound of the clavinet I designed. Therefore, I just played for hours, recorded tracks, tweaked the Clavinet V, and I came up with this powerful and versatile sound. It’s basically the sound I use when I want to play some clavinet parts with my band.

Montgomery Birds

( El Choop)

My favourite preset is Montgomery Birds. This is a lush pad sound paired with a field recording of morning birds I recorded in my hometown of Montgomery, Wales. I took an experimental approach here importing in a field recording and not expecting it to be musically ‘useful’. I designed a pad sound using the Vocoder V’s synth section and when layered with the field recording it sounded great. Of course some modulation and effect processing was necessary to smear them both together. I really love this preset. There’s something to be said about hearing the birds from your hometown in a musical context. I know that to anyone else these birds aren't so special, but I hope they enjoy the preset regardless.

El Choop - on Vocoder V

About ElChoop ↓

The synthesizer section of the Vocoder V is seriously impressive. It’s interesting to have a sample’s envelope trigger the synth, and when you have it set to 50/50 dry wet (vocoder/synth) you get a balanced blend of sampling and vocoder synthesis which can be a powerful hybrid of sounds.

Amazonian

( Mark Gijsman)

My favorite preset is Amazonian Vibes, it has that ‘90s rompler sound. This sound is created from scratch, the Emulator II V is able to layer 8 different samples. This is a great way to create complex textures and pads.

Mark Gijsman - on Emulator II V

About Mark ↓

I’ve always loved the Emulator sound, the gritty nature of the instrument is so appealing! The Arturia Emulator II V has that same character. It’s strength lies in the fact that it’s very musical - no matter what you sample, the Emulator II V gives it that sparkle. Being able to layer 8 samples at once to program complex textures makes it a serious sound design tool. The voice FX feature is something special as well, every sample can have it’s own reverb, delay or chorus - this is great for huge pads and drum kits.

Final Boss

( Simon Gallifet)

I made this preset for Arturia’s CZ V promo video. Part of the drive was meant to show that CZ V has the potential to create more 'modern' sounds, so I created this drum'n'bass sound by trying not to fall into the cliché of the ternary wobble.

Simon Gallifet - on CZ V

About Simon ↓

Our brain is accustomed to hearing the imperfection and irregularity that it takes pleasure to correct. The original CZ synthesizer is typically the kind of digital synthesizer that sounds too smooth for me. Fortunately, Arturia developers have extended the functionality of the CZ synth by adding additional modulations such as "Sample and hold" LFOs, MIDI synced and Looped envelopes as well as a wide spectrum of audio effect. All these features allow me to take advantage of phase distortion synthesis with the possibility of giving it more warm and lively features.

Afterglow Pad

( Lily Jordy)

This pad sounds so unbelievably huge, like there’s some stereo enhancing plugin added to it - except it’s all Juno, with delay and reverb being modulated by LFO2 and ENV2! I love the mod wheel’s effects: it thickens the sound into a wild, windy soundscape using only the resonance. Very effective for setting a sci-fi or mystical ambience.

Lily Jordy - on Jun-6V

About Lily ↓

I was immediately charmed by Jun-6 V's powerful simplicity. Before I started making presets on Arturia's recreation, I was already a big fan of the classic Juno sound - so I may be a little biased!

But I can safely say that this synth has so much hidden potential and astonishing modulation capabilities, in proportion to its user-friendly minimalistic design. It's no wonder that it's a favorite of so many artists, as it takes very little time to get accustomed to it and start making excellent patches.

“My knowledge from using modular synth systems sure came in handy! I didn't approach this as an expert on the Music Easel, so I use the "Left Hand" in every preset to have the most interesting sound I can. The possibility of polyphonic sound is something I like a lot, so I did some presets with this idea in mind. I’ve been impressed by the FM and AM, and I get exactly the same kind of result with real analog hardware.”

Maxime Dangles

Maxime Dangles - on Buchla Easel V

About Maxime ↓

Buchla architecture is quite far removed from any other synth. It forces you to spend a bit of time on this to understand all the feature of the synth, which is important because this is a really open and powerful synth! I love the dual LPG, it’s rare in the VST world. The "Left Hand" functions really makes it incomparable with other synths. I feel like it's the perfect, natural extension of my Eurorack system.

Final Frontier

( Boele Gerkes)

I made this patch “Final Frontier” because I could create this beautiful ambient sound with a Mellotron tape (Wine Glass) without actually sounding like a Mellotron. There is nothing wrong with a Mellotron sounding like a Mellotron of course, but this particular preset was fun to make because the plugin let you go unique ways. In this case by setting up the sound with three times the same tape, panned differently, by using the effect stompboxes and by setting a VCA envelope that would not be possible on the original.

Boele Gerkes - on Mellotron V

About Boele ↓

Pitch fluctuations, audio dropouts on worn out tapes, the weird frequency characteristics, amplifier distortion: imperfection is what makes the Mellotron so adorable because imperfection created its character.

Hypno Play

( Stéphane Schott)

For this sound, I wanted to create a small sequence on 5 steps with the sequential voltage source, set to control the complex oscillator, the oscillator modulation then adds a nice low-end sound. The particular color of the Buchla Easel V reverb completes the sound.

Stéphane Schott - on Buchla Easel V

About Stéphane ↓

But I can safely say that this synth has so much hidden potential and astonishing modulation capabilities, in proportion to its user-friendly minimalistic design. It's no wonder that it's a favorite of so many artists, as it takes very little time to get accustomed to it and start making excellent patches.

Different Waze

( Dave Polich)

For the ‘Separate Ways’ preset (which I titled ‘Different Waze’) you need two sawtooth oscillators, each tuned to the same range, and detuned enough so that you get this glossy shimmering tone. Then you have to create a filter envelope that closes the cutoff frequency, similar to the way a piano’s filter envelope closes down, in time with the song’s tempo, and you have to tune the filter resonance so that it is ‘shiny’ and ‘juicy’ in the same way as the sound on the original record. The amplifier envelope has to have a high level of sustain, though, unlike a piano which only has decay, so you can play lead lines with the sound as well as comp chords. The opening synthesizer riff for the Journey song is the most memorable part of it, it instantly tells people what song it is, and therefore you need to mimic the envelopes exactly...which I was easily able to do with Jup-8 V.

Dave Polich - on Jup-8V

About Dave ↓

The aspect of Jupiter 8 V4 that most surprised and excited me was the sound..first, it sounds vastly better than Arturia’s previous Jupiter 8 V versions. Second, I used a Jupiter 8 back in the 80’s, and Jupiter 8 V4 sounds like the real Jupiter 8 that I remember..you never forget that sound.

Natural Aggressive Tone

( Jerry Kovarsky)

I was attempting to create a very real and natural sound based on my long experience with the instrument (I’ve owned a 1972 Stage and a 1978 MK1 Suitcase, both of which I worked on extensively). I wanted to recreate a very “hot” sound that could break up nicely when played aggressively (hence the title!). So I worked with the pickup distance, and hammer hardness to get that extra “bite”. The dynamics of the sound were also important for me. For the demo I tried it out with a variety of effects and variations in the voicing of the model (tine noise, pickup distance and alignment, damper noise etc.) and it just “works” for getting a wide range of great sounds.

Jerry Kovarsky - on Stage-73 V

About Jerry ↓

The vocabulary of Rhodes sounds is very wide; from the early felt hammer sound of the late ‘60s up through the amped sound of a Stage, and on to more clanky and prominent tine sounds. There is no one sound that is universally agreed upon, and I enjoy at least 6-7 very different approaches to the instrument. So I sought to chase them all down, referencing my favorite recordings for guidance.

Paul Nazca on CMI V

About Paul ↓

The main strength of the CMI V is that everything is very legible and user-friendly – the interface is well-designed. The FX are particularly powerful and the automations are easily assigned.

Aragor Planet

I didn’t really have a specific sound in mind when I started working on producing the presets, I just started stacking the sounds in the slots and seeing what the results were. I decided to work on the basis of both long and short aggressive sounds. 'Aragor Planet' is one of the richest presets I created, layering 5 different sounds. This preset is also atmospheric and strange, it sounds like something that goes round and round.

Thomas Koot - on CZ V

About Thomas ↓

Just as with analog synths, the rawness and imperfections of early digital synthesizers give them an unmistakable character. Like the original CZ series, the CZ-V provides sounds with real character, it has a vintage feel, but in a completely different way than an analog synthesizer.

Some of the most talented musicians, producers, and sound designers we work with

  • 10 Phantom Rooms
  • Alessandro Cardinale
  • Alex Retsis
  • Allert Aalders
  • Anthony Gonzales
  • Baptiste Le Goff
  • Barry Jamieson
  • BigTone
  • Bitley
  • Blakesmith
  • Blush Response
  • Boele Gerkes
  • Brendan Perry
  • Celmar Engel
  • Charles Capsis IV
  • Chris Laurence
  • Chris Pitman
  • Christian Laffitte
  • Clay Duncan
  • Clement Bastiat
  • Clement Chaumeil
  • Commuter
  • Cubic Spline
  • Darrell Diaz
  • Dave Polich
  • Don Solaris
  • Drew Anderson
  • Drew Neumann
  • Ed Ten Eyck
  • Edouard Madeuf
  • emptyvessel
  • Erik Norlander
  • Frank Greiner
  • Frodebeats
  • Geoff Downes
  • Germain Marzin
  • Gingold
  • Glen Darcey
  • Greg Savage
  • Gustavo Bravetti
  • Hisashi Saito
  • Histibe
  • Ian Boddy
  • Indie Moon
  • Jaime Newman
  • James Bernard
  • James Thompson
  • Jamie Muhoberac
  • JaseFOS
  • Jean-Baptiste Arthus
  • Jean-Michel Blanchet
  • Jeremiah Savage
  • Jim Cowgill
  • Jörg Hüttner
  • Joseph Hollo
  • Katsunori Ujiie
  • Ken Flux Pierce
  • Kevin Lamb
  • Kevin Schroeder
  • Klaus Baetz
  • Klaus Peter Rausch
  • Klaus Schulze
  • Kurt Kurazaki
  • Laurent Collat
  • Lily Jordy
  • Lotuzia
  • Luca Torre
  • Ludovic Llorca
  • Mark Gijsman
  • Mateo Lupo
  • Matsutake
  • Matt Pike
  • Max Fabio
  • Maxime Audfray
  • Maxime Dangles
  • Meli Anthos
  • Menno Meijer
  • Michel Geiss
  • Mord Fustang
  • New Loops
  • Nori Ubukata
  • Paolo Apollo Negri
  • Paul Nazca
  • Paul Schilling
  • Paul Steinway
  • Paul&Peter Schilling
  • Pierce Warnecke
  • Pierre Pfister
  • Plughugger
  • Randy Lee
  • Raynald Dantigny
  • Reek Havok
  • Rich Rozmarniewicz
  • Richard Courtel
  • Richard Devine
  • Richard James
  • Richard Veenstra
  • Roger Lyons
  • Ruff & Jam
  • Sato Fujimori
  • Scot Solida
  • Sergio Martinez Lu
  • Seroplexx
  • Silicon Sound
  • Simon Gallifet
  • Solidtrax
  • Sonar Traffic
  • Sota Fujimori
  • Stephan Muesh
  • Stephane Schott
  • Steve Ferlazzo
  • Summa
  • Sylvere Letellier
  • Takashi Odanaka
  • Tasmodia
  • Ted Perlman
  • Teknotanz
  • The Circuit Symphony
  • The Solos
  • Theo Niessink
  • Thomas Koot
  • Tim Conrardy
  • Tobias Menguser
  • Todd Barton
  • Tom Hall
  • Tomas Mulcahy
  • Torben Hansen
  • Ulf Kaiser
  • Uwe Zahn
  • Valentin Lepetit
  • Vangelis Vargas
  • Victor Morello
  • Vincent Travaglini
  • Wally Badarou