Top Synthesizers Reviews (Updated)
[Keyboards, Modules & Semi-modular Synths]
We as a whole love programming synths, yet there’s nothing very like getting hands-on with a legitimate equipment instrument in your studio. At the present time, the market for equipment synths is as light as it’s been for as long as 25 years, with makers catering for all financial limits and tastes.
At the lower end of the value scale you’ll discover conservative synths that are equipped for creating shockingly large sounds. A portion of these are enlivened by exemplary synths from the past, yet others are totally unique designs.
Go up a value section and you’ll get more features and adaptability, not to mention better form quality. The absolute best synths speak to an entirely genuine speculation, yet these are objects of want that you’ll cherish for a considerable length of time for a few. Additionally, in the event that you ever choose to sell, you’ll likely get a decent piece of your money back. Simply take a gander at a portion of the old Roland, Yamaha, Korg and Moog works of art on eBay for example.
There is by all accounts a slight move away from the simple restoration of producers rebooting old works of art, with an eye currently cast on crossover motors, blending union in with inspecting. The absolute most recent very good quality synths to be discharged for this present year are merging both digital and simple universes with wavetable combination additionally getting in on the action.
We should not overlook FM amalgamation, which has likewise made a big deal about a rebound, with its natural crystalline, ’80s-style sounds everywhere throughout the radio at the present time. There’s as yet a spot for virtual simple instruments in the entirety of this, so you truly are spoilt for decision.
All in all, which is the best equipment synth for you? In view of our reviews, underneath you’ll discover MusicRadar’s pick of the best models you can purchase at the present time. We have keyboards, modules, semi-measured, work area and rack-mountable instruments, in all sizes, that range the value range. All, however, come energetically prescribed.
3 Top Synthesizers
Arturia MicroFreak Hybrid Synthesizer
Synth motor: Digital | Polyphony: 4 voice paraphonic | Keyboard: 25-key capacitive keyboard | Sequencer: Yes | Effects: None | MIDI I/O: In/Out | Connectivity: Mono 1/4-inch yield for sound, headphone yield; 3.5mm CV/Gate/Pressure yields, and 3.5mm MIDI I/O | Power: USB-fueled, AC connector
- Bunches of sonic potential given the value range
- Weird and wacky oscillator modes
- So much enjoyable to program
- A 24dB/oct channel mode would be helpful
With such huge numbers of combination features stuffed into such a little box, it’s hard not to begin to look all starry eyed at Arturia’s most recent equipment offering. The numerous oscillator modes spread a close perpetual scope of timbres; the channel is smooth and flexible; the Matrix welcomes exploratory modulation; and the exhibition and sequencing devices are the what tops off an already good thing cake. In any case, the genuine enchantment lies in the combo of all these together, making this odd little mammoth definitely more than the entirety of its parts. MicroFreak ought to be top of your ‘must attempt’ list.
Korg minilogue XD 4-voice Analog Synthesizer
Synth motor: Hybrid | Polyphony: 4 voices | Keyboard: 37 thin keys, speed touchy | Sequencer: Yes | Effects: Delay, Reverb, Chorus, Flanger, Ensemble, Phaser | MIDI I/O: In/Out | Connectivity: Headphones, stereo yield, sound in, a state of harmony in, a state of harmony out, USB, 2x CV in | Power: AC connector
- CV connectivity
- Good fabricate quality
- Only one channel shaft option onboard
- No low profile/high-pass channel switch or dial
This new model openings easily into the Logue go between the first Minilogue and the Prologue 8. On the off chance that we needed to pick among this and the first Minilogue, it’d be the XD because of its all the more dominant sequencer, broadened general adaptability, client customisable Multi-Engine/impacts, the joystick for ongoing control, client scales/tunings, all the more moving vibe and fantastic motion-sequenceable stereo impacts/yield. Along with the new damper pedal jack and double CV contributions (to interface with measured rigging), the XD is a pleasantly extraordinary kind of Minilogue, and its novel personality is a tremendously welcome addition to the range in general.
Behringer NEUTRON Synthesizer
Polyphony: Paraphonic | Synth motor: all-simple; 2 VCO, 1 VCF (12db LPF/HPF), VCA, 2 ENV (ADSR), LFO, BBD delay, overdrive | Control: External MIDI/CV control only | Patch focuses: 56 | Other I/O: MIDI In/Thru, USB (MIDI in), ace out, sound in, headphone out
- Extraordinary incentive for money
- 3340 VCO – a clone of the amazing CEM3340 found in simple works of art of the late ’70s and mid ’80s
- Flexible patchbay
- Too simple to immerse the channel section
Behringer’s synth arm may be most popular for its controversy-seeking ‘tributes’, however the German brand likewise has two or three magnificent unique instruments added to its repertoire. Following in the means of a year ago’s Deepmind, Neutron is a simple semi-measured that packs in a great deal of adaptability at its entirely reasonable cost point. The Neutron has a couple of defects, and there are some disappointing design issues, yet it sounds great, and as far as value for-your-money, you can’t generally beat it. While it does an awesome activity of making increasingly reasonable sounds, it likewise exceeds expectations at the abnormal and wonderful.
15 Best Synthesizers
Korg VOLCAFM Digital FM Synthesizer
Synth motor: Digital FM | Polyphony: 3 voices | Keyboard: Multitouch | Sequencer: Yes | Effects: Chorus | MIDI I/O: In | Connectivity: Headphones, Sync In, Sync Out | Power: Battery or optional AC connector
- Extraordinary FM Sound
- More adaptable than it first appears
- Only three voices
The Volca FM is a conservative, battery-powerable instrument, housed in a plastic frame with a design that gives a saucy expressive gesture to the Yamaha DX7 from which it takes its sonic signals. It’s outfitted with a ribbon-style keyboard-come-sequencer, worked in speaker, MIDI info and 3.5mm match up in/out. This is effectively the best of the Volca go up until now. Where different models have just caught the general vibe of the instruments they took their inspiration from – yet in an enjoyment and reasonable manner – the FM oversees not exclusively to nail the sound of its profound ancestor, yet additionally includes a collection of new and ground-breaking features. It’s not without its limitations – the absence of polyphony deserts it slacking the first DX7, Yamaha’s Reface DX, and the different FM modules out there – however the sound of those dull, percussive basses, frigid hammers and ’80s-style horns is hit into, and in the event that you begin to push the capacities of this tweakable, hands-on little synth, you’ll think that its prepared to do some genuinely special stunts.
Waldorf Quantum 8-Voice Hybrid Synth
Synth motor: Hybrid | Polyphony: 8-voice | Keyboard: 61-key fatar keybed with aftertouch | Sequencer: 64 stage | Effects: Chorus, flanger, delay, reverb | MIDI I/O: In/Out/Thru | Connectivity: Headphone yield, stereo sound info, MIDI and USB (B-type) I/O, USB (A-type), SD-card, stereo sound yield, aux yield, pedal contributions for expression and continue
- Assembled like a tank, with strong controls
- Clear and smart touchscreen
- Spec’d to the hilt!
- No multimode for the simple channel (however the Digital Former compensates for this)
At its heart, the Quantum is a 8-voice, bi-timbral (2-section) synth, utilizing high-resolution stereo oscillators steered through double resonant simple (or digital) channels. Sounds can be part and layered and voices can be allocated deftly between layers; each layer can likewise have its very own yield for autonomous preparing. Significantly, there are four free combination motors (over the three oscillators). It is really remarkable and fit for staggering, supernatural, or recognizable sonic outcomes. It can sound enormous, little, meager, fat, warm, epic, broken or cold and you can engrave your personality onto the sound utilizing the accessible parameters, or your very own examples. For ground-up, lofty sound design, SFX for lm/TV, bizarre advancing soundscapes, straight-up simple synth emulation, FM-type sounds, and eery FX/atmos sounds, the Quantum is brilliant. Truly, it’s expensive yet it merits the venture – you’ll never get exhausted with this measure of profundity and wonderful sonic outcomes.
Roland D-05 Sound Module
Synth motor: Digital Linear Arithmetic | Polyphony: 16 voices | Keyboard: None | Sequencer: Yes | Effects: Reverb/delay, EQ, tune | MIDI I/O: In/Out | Connectivity: Headphones, stereo yield, blend in, USB | Power: Battery or USB transport power
- Great digital sounds
- Great presets and the option to stack more
- Improves on the first in some respects
- Fiddly to program
The D-05 offers something somewhat unique to most of the Roland Boutique go. Though the vast majority of the models to date have utilized Roland’s ACB tech to copy the electronics of vintage simple instruments, the D-05 takes as its premise the D-50, an all-digital ‘Straight Arithmetic’ (LA) synth that was first discharged in 1987. As far as the essential design of the synth, the D-05 is basically a careful replication of the D-50. As in the past, patches are part into upper and lower ‘tones’ every one of which contains up to two partials. Every halfway can be either a PCM test or a blended sound made by the LAS motor. There are crisp features, as well, most eminently a 64-advance polyphonic sequencer and multi-mode arpeggiator. It’s not the most effortless instrument to program, however we’ve begun to look all starry eyed at this reduced and sonically exquisite recreation of a digital great, and you may well do, as well.
Sequential Prophet X 61-Key Synthesizer
Synth motor: Hybrid | Polyphony: 8-voice stereo (16-voice mono) | Keyboard: 61 semi-weighted keys with speed and channel (mono) aftertouch | Sequencer: 64 stage | Effects: Delay, tune, phaser, flanger, rotational speaker, HPF, reverb and distortion | MIDI I/O: In/Out | Connectivity: Headphone yield, MIDI and USB (B-type) I/O, USB (A-type), stereo sound yield, yield B, pedal contributions for expression/CV, volume, support and sequencer trigger
- Strong form, natural and fun
- Lots of modulation steering available
- No approach to allocate voices deftly per-layer
- No approach to sidestep impacts for simply the example or synth on a solitary layer
The Prophet X brings a completely new/welcome sound to Dave Smith’s lineup. Because of its adaptable and open example based engineering and attempted and tried synth motor, it can make for all intents and purposes any sonic progress. Like the Waldorf Quantum, the value is high yet also the X is utilizing the most recent innovation in an extremely melodic/exquisite way, while at the same time driving you into new sonic methodologies/regions. Manufacture quality is strong; all the switchgear and handles feel tank-like and very roadworthy. Prophet X’s 61-note speed/aftertouch empowered keybed likewise feels extremely high-caliber and, despite the fact that it’s somewhat more firmly sprung than the Prophet 6, this gives you progressively point by point control over the acoustic instruments and speed exchanged examples If you need a synth that can rapidly get you near the sonic intricacy of your DAW’s modules (however without the object), at that point this is it!
Novation Circuit Mono Station Paraphonic Analog Synthesizer
Synth motor: Analog | Polyphony: Paraphonic | Keyboard: 32 RGB-illuminated speed touchy button matrix | Sequencer: Yes | Effects: Distortion (three sorts) | MIDI I/O: In/Out/Thru | Connectivity: Headphones. line out, sound information, simple check in and out, CV, entryway and aux CV yields, USB (MIDI only) | Power: Power connector
- Misleadingly profound sequencer
- Solid simple sound engine
- Good scope of I/O
- Lack of a screen can make altering confusing
Circuit Mono Station is, in free terms, a crossover of two of Novation’s best instruments: a combination of the substantial simple synth motor of the Bass Station II, and Circuit’s amazing sequencer. Housed in an undercarriage like – yet marginally taller than – Circuit, Mono Station’s interface is generally isolated down the middle, with the upper section lodging the synth controls and the lower portion controlling the sequencer. Mono Station is furnished with a nice cluster of intricate details, while the profound, multi-channel sequencer, adaptable mod grid and automation all indicate a work process and innovative experience not at all like whatever else available, consolidating the best of digital adaptability with an exemplary simple synth design. The final product is substantially more than the total of its parts, and at this value point this is an absolute necessity attempt synth.
Arturia MiniBrute 2 Semi-Modular Analog Synthesizer
Synth motor: Analog | Polyphony: Paraphonic | Keyboard: 32 RGB-illuminated speed touchy button network | Sequencer: Yes | Effects: Distortion (three sorts) | MIDI I/O: In/Out/Thru | Connectivity: Headphones. line out, sound info, simple check in and out, CV, entryway and aux CV yields, USB (MIDI only) | Power: Power connector
- The patchbay includes flexibility
- Plenty of simple grit
- Decent control options
- Osc 2 pitch control is excessively near the channel cutoff
Where the first was a genuinely direct monosynth with a couple of one of a kind touches and some CV control, the MiniBrute 2 is semi-measured, flaunting an expanded synth motor and a thorough small jack patchbay. As in the past, the essential oscillator can produce saw, triangle and square waves all the while, the yields of which are mixed by means of the oscillator blender, where they’re joined by a background noise and outer sound information. Channel savvy, the MiniBrute 2 keeps the Steiner-Parker-style channel of its antecedent, which offers – 12dB low-and high-pass modes, in addition to – 6dB band-pass and indent sifting. All in all, the MiniBrute 2 is a genuine achievement. It takes all that we enjoyed about the first – the simple coarseness, intriguing oscillator forming and Brute factor control, which overdrives the sign chain utilizing a controlled input circle – and develops it considerably. A genuine contender, at that point, and the equivalent can be said of the MiniBrute 2S, which swaps the keys for a cushion based advance sequencer.
Elektron Digitone 8-voice Digital Synthesizer w/sequencer
Synth motor: FM digital | Polyphony: 8 voices | Keyboard: None | Sequencer: Four synth tracks and four MIDI tracks | Effects: Chorus, delay, reverb, overdrive | MIDI I/O: In/Out/Thru | Connectivity: Two 1/4-inch adjusted sound outs, two 1/4-inch sound ins, headphones, USB | Power: Power connector
- Clear yet fat sound
- Can additionally be utilized as a FM sound module or MIDI sequencer
- Sequencer and sound motor work together seamlessly
- Sequencer isn’t the most straightforward to learn
Digitone utilizes old fashioned commonplace four-administrator FM combination (where waves regulate one another) however with some extremely welcome new exciting bends in the road. The local FM motor is eight-note polyphonic and has four dedicated tracks (got to straightforwardly through the sweet shop style T1-T4 buttons), along with four MIDI tracks for controlling/sequencing outer MIDI rigging. Once the Digitone’s FM sound motor is coupled to the Elektron’s awesome sequencer design, the entire thing just wakes up. You’ll soon be wondering why anyone thought FM was hard to utilize or antiquated sounding. Obviously, you can utilize the Digitone as a basic sound module activated from a MIDI controller, DAW or the onboard 16-advance buttons to play basic old-skool FM impersonations, yet it’s once the sequencer, modulators and channels are utilized (and the phenomenal impacts overlayed or ‘P-bolted’) that the Digitone shows its actual and great hues.
Studiologic Sledge 2.0 61-Key Synthesizer
Synth motor: Virtual simple | Polyphony: 24 voices | Keyboard: 61 keys with aftertouch | Sequencer: No | Effects: Chorus, phaser, flanger, delay, reverb | MIDI I/O: In/Out | Connectivity: Left and right sound outs, two headphones outs, USB (to host and MIDI), hold and expression pedal data sources | Power: AC connector
- Rich, full virtual simple sound
- Sampling capability
- Lightweight however well built
- Yellow case won’t be for everyone (however you can likewise get it in black)
The first Waldorf-controlled Sledge propelled in 2012 and, in spite of being pretty reasonably estimated and offering an extremely strong synth motor, to a great extent fell under the radar. Be that as it may, v2.0 is a huge update. There’s no uncertainty that the Sledge’s front board has been to a great extent impacted by the Minimoog with its exemplary three-oscillator in addition to channel in addition to double envelope format. It’s an incredible decision of design as it’s extremely recognizable to the vast majority and streams pleasantly. Toss in wavetable and test import options, in addition to FM, 24-note polyphony, split/layering offices and aftertouch backing, and Sledge begins to resemble an incredible purchase. A dark version with a few new features is currently accessible, as well.
BEHRINGER DEEPMIND 12
Synth motor: Analog | Polyphony: 12 voices | Keyboard: 49 keys, speed touchy and aftertouch | Sequencer: 32-advance control sequencer | Effects: More than 30 calculations including reverb, ensemble, flanger, phaser, delay and multiband distortion | MIDI I/O: In/Out/Thru | Connectivity: Stereo yields, Headphones, CV/pedal info, USB | Power: Mains connector
- A lot of voices at an incredible price
- Flexible modulation matrix
- Loads of presets
- Not as ‘prompt’ as a few
Behringer’s first simple synth is polyphonic to the tune of 12 concurrent voices, and with a metal case and wooden side boards, it would seem that the genuine article. While DeepMind is positively intuitive and incredible, it comes up short on the quickness of a portion of the more straightforward works of art, for example, Roland’s Juno-106 or Jupiter-8. All things considered, this is a noteworthy first passage into the synth field for Behringer. In contrast to a portion of its past items, this is certifiably not a cut-value clone, and conveys its very own interpretation of what a £1,000 simple polyphonic synth ought to be. Toss in the free cross-stage altering programming, 1,024 onboard presets and a three-year guarantee, and you have an appealing bundle.
Moog Grandmother Semi-Modular Analog Keyboard Synthesizer
Polyphony: Mono | Synth motor: 2 VCO, 2 VCF (24db LPF and 6db HPF), VCA, 1 ENV (ADSR), 1 LFO, spring reverb | Control: 32-note keyboard, sequencer/arp | Patch focuses: 41 | Other I/O: MIDI in, out and through, sound in, ace out, headphone out, arp/seq CV control
- Adaptable, patchable design
- Loads of interconnectivity
- Classic Moog measured sound!
- Some functions are covered up and not self-evident
Moog’s most recent semi-secluded comes furnished with a 32-note Fatar keyboard, sequencer and arp, making it more execution focussed than its kin in the Mother line. It has a chic multi-hued retro design that suits its real vintage sound. The old-school approach is adjusted pleasantly with the inclusion of a spring reverb module – an uncommon inclusion in current synths. Grandma is an adaptable entertainer, equipped for an immense scope of sounds even before fixing a link. Is it worth the asking cost? Totally, if for no other explanation than furnishing clients with a sample of those old Moog secluded circuits without taking out a second home loan.
IK Multimedia UNO Synth Portable Monophonic Analog Synthesizer
Synth motor: Analog | Polyphony: Monophonic | Keyboard: Touch keyboard | Sequencer: Yes | Effects: Delay, Dive, Scoop, Vibrato, Wah, Tremolo | MIDI I/O: Minijack In/Out | Connectivity: 3.5mm stereo yield (mono added), 3.5mm stereo information (mono added), Micro USB | Power: Four AA batteries
- Flexible, profound simple sound
- Flexible arp, sequencer and scale mode
- Plenty of extraordinary sounding, exceptionally usable presets
- Hardware feels very lightweight and modest
The appearance of Uno may demonstrate somewhat troublesome. Its inclined profile and press button control board have a retro appeal, however it’s a design that infers the beginning of home PCs more than any vintage simple synth. The lower some portion of the press button interface is taken up by a 27-note ‘keyboard’ for live playing, or to enter notes for the onboard sequencer or arpeggiator. In spite of the entirety of this, Uno is a great sounding, flexible simple monosynth, and you do get a ton for your money. The presets offer a ton of profoundly usable sounds, and we could surely observe this turning into a go-to instrument for exemplary basses and leads. The arp and sequencer are extraordinary for rousing thoughts, and a product proofreader adds to the charm. in the event that you can adapt to a couple of bargains, Uno is an incredible wellspring of great, punchy simple sounds at a deal cost.
Novation Peak Synthesizer
Synth motor: Analog/digital | Polyphony: 8 voices | Keyboard: None | Sequencer: No | Effects: Analog distortion, melody, delay, reverb | MIDI I/O: In/Out/Thru | Connectivity: Left and right sound outs, headphones, USB (MIDI), two pedal data sources, CV in | Power: Mains power
- An individual sound
- Multiple modulation and sound forming options
- Well manufactured and extraordinary hands-on control
- No keyboard version
Designed in consultation with Chris Hugget (Chris designed the amazing OSCar and worked together on a few other Novation synths), Peak is Novation’s present lead synth. Pinnacle is a 8-voice polyphonic, 24 ‘Oxford’ oscillator, monotimbral synthesizer, using incredibly high-resolution hostile to associating digital oscillators (NCOs) along with wavetables as its primary sound sources. Every one of the three oscillators onboard presents the normal simple style waveforms (the saw has a thickness mode, viably giving you a ‘supersaw’ mode), in addition to 17 wavetables, giving a huge scope of tonal conceivable outcomes. Pinnacle has a great deal in the method for sonic forming options, an interesting and enormous tone palette that is appropriate for all styles of electronica, and a lot of hands-on control. Additionally, it’s well-assembled and reasonably valued. Credit to Novation on a great machine!
Roland JD-XA Synthesizer
Synth motor: Analog/digital | Polyphony: Analog, four voices; digital 64 voices | Keyboard: 49-note, speed touchy with aftertouch | Sequencer: 16-track design sequencer | Effects: MFX: eight frameworks with 67 sorts; Part EQ: eight frameworks; TFX: two frameworks with 29 kinds; Delay; Reverb; Master EQ | MIDI I/O: In/Out | Connectivity: 1/4-inch principle yield jacks, 1/4-inch simple dry yield jac, 1/4-inch click yield jack, 1/4-inch combo mic jack, foot pedal jacks, CV/door yield jacks, USB (sound/MIDI) | Power: AC connector
- Simple and digital motors can deliver interesting sounds together
- Very tweakable front panel
- Plenty of modulation options
- Keyboard is only four octaves
Given Roland’s fine history of simple polysynths, the bigger of the organization’s two ‘hybrid’ keyboards had a ton to satisfy when it was discharged in 2015. Joyfully, it conveys. The JD-XA is gigantically flexible. It can go about as an incredible simple and cross breed mono/polysynth, and features one of the most delightful vocoders we’ve utilized. There are a lot of modulation options onboard, the worldwide and supplement FX and new simple channels sound extraordinary, and it’s a ground-breaking MIDI control surface for sure. This is an extraordinary keyboard to have at the focal point of any arrangement – either live or in the studio. Caps off to Roland for making one of the most rousing and interesting sounding synths of ongoing occasions.
Dave Smith Instruments OB-6 6 Voice Analog Synthesizer
Synth motor: Analog | Polyphony: 6 voices | Keyboard: 49-note, speed delicate with aftertouch | Sequencer: 64-advance polyphonic advance sequencer | Effects: Stereo simple distortion, reverb, delay, chorale, flanger, stage shifters, ring modulator | MIDI I/O: In/Out/Thru | Connectivity: Stereo 1/4-inch sound outs, headphones, USB (MIDI), channel cutoff expression pedal info, volume expression pedal information, continue footswitch input, sequencer start/stop footswitch input | Power: Mains power
- An incredible Oberheim/Dave Smith crossbreed
- 2-post state-variable filter
- Good modulation facilities
- Some board naming darkened by dials at some review points
The OB-6 is a 6-voice synth with an all-simple sign way and discrete VCOs and channels. It was created in collaboration with Tom Oberheim, and flaunts a sound motor that is enlivened by his unique SEM. Indeed, the OB-6 guarantees “genuine, vintage SEM tone with the soundness and adaptability of present day innovation”. The design features two oscillators for every voice, with continuously factor waveshapes (sawtooth and variable-width beat, with triangle on oscillator 2). Each voice additionally approaches a SEM-motivated state-variable channel (low-pass, high-pass, band-pass, and indent). Finishing the sign way are voltage-controlled enhancers. Toss in a ground-breaking modulation framework, double impacts section and handle per-function front board and you have an as much as possible synth that will keep you engaged for a considerable length of time to come.
Roland System-8 Synthesizer
Synth motor: Digital (ACM demonstrating) | Polyphony: 8 voices | Keyboard: 49 keys, speed touchy | Sequencer: 64-advance sequencer | Effects: Overdrive, distortion, metal, fluff, smasher, phaser, delay, theme, flanger, reverb | MIDI I/O: In/Out | Connectivity: Left and right sound outs, left and right sound ins, headphones, CV/Gate yields, trigger in, hold and control pedal sources of info, USB (sound/MIDI) | Power: Mains power
- Magnificent and flexible synth engine
- Plenty of hands-on control
- Comes with great Roland synth Plug-Outs and you can purchase more
- Some sequencer and arp features are absent
Designed by the AIRA group (a different division inside Roland), the System-8 can be seen as the System-1’s older sibling to say the very least. It’s an eight-voice ACB-controlled polysynth with its very own incredible local motor, joined by the Plug-Out openings into which you can put your decision of any three Plug-Outs from the Roland Content Store. The S-8 boats with Plug-Out versions of the Jupiter-8 and Juno-106, ostensibly Roland’s two best-adored polys. The S-8 motor offers a flexible arrangement that is fit for a gigantic scope of tones, from future-electronic to great vintage, and everything sounds exact yet warm and melodic. Toss in sound interface/CV capacities, a sequencer and a respectable vocoder (in addition to sound contributions with dedicated FX) and it’s hard not to be dazzled.