Top High-End Hardware Synthesizers Reviews (Updated)
Since the beginning of the synthesizer, it has consistently been an instance of ‘greater is better’. Looking for validation from the piano-playing brotherhood, this burgeoning instrument immediately ended up managing a few octaves worth of keys. From the late ’70s and ’80s blast time for synth-producers, in the event that you weren’t shaking 61-note keybeds, at that point you weren’t shaking, evidently.
In spite of the fact that, while times have assuredly proceeded onward, enormous amazing synthesizers, smashed with various voices and shed-tons of polyphony have generally remained the equivalent. Without a doubt, the digital revolution unquestionably left a permanent imprint, the resurgence of simple has absolutely carried parity to the synthesis universe.
Yet, which is the privilege synth for you? Enormous synths aren’t actually modest, so in the event that you’re hoping to make a buy, at that point you should step cautiously. Fortunately, there is nobody synth that is superior to some other (that would be exhausting), so you’re going to require some assistance when leaving behind that well deserved dollar.
Regardless of whether you are searching for an all-simple, cross breed, digital, virtual simple, or a FM machine, you will discover them all here. We won’t feature any huge arranger keyboards, or workstations, yet we will incorporate the odd module for you slobber over and, all the more critically, to settle on that exceedingly significant buy decision.
Along these lines, in no specific request, read on for a purchaser’s guide of the best top of the line synths accessible available at the present time.
3 Top High-End Hardware Synthesizers
Arturia MatrixBrute Analog Matrix Synthesizer
Synth motor: Analog | Polyphony: 3-note paraphonic | Keyboard: 61 semi-weighted keys with speed and aftertouch | Sequencer: 64 stage | Effects: Chorus, flanger, delay, reverb | MIDI I/O: In/Out | Connectivity: 12 CV/Gate inputs/yields, sound information, MIDI and USB I/O, stereo sound yield, pedal contributions for expression and support
- Assembled like a tank
- No menu diving
- Extensive MIDI and CV/entryway features
- There’s no snap for the sequencer
There’s likewise a ton on offer execution control-wise other than the amazingly incredible framework. Legato, Glide, Legato-Glide, Mono, Duo/Split and 3-note Paraphonic modes are additionally accessible. Indeed – you can play standard leads yet in addition 3-note harmonies with envelope articulation (and the MB sounds extraordinary in this mode). You have five remarkable modulatable basin detachment delay-based simple impacts which sound wonderful mixed with the VCOs (mono/stereo postponements, theme, flanger and reverb). In the event that there’s any synth that merits the title of most well-featured simple monosynth then this is it! It’s unshakable, fit for a truly incredible cluster of sounds and it’s so adaptable you could go through years with it and not deplete the potential outcomes.
Korg Prologue 49-Key 8-Voice Analog Synthesizer
Synth motor: Analog | Polyphony: 6-voice | Keyboard: 49-note, speed delicate with aftertouch | Sequencer: 64 stage | Effects: Distortion, melody, phaser, delay, reverb | 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, support footswitch input, sequencer start/stop footswitch input
- Gigantically characterful sound
- Built like a tank
- User digital wave/mod effect
- No aftertouch or minilogue-style sequencer
On the sonic front, both the Prologue 8 and 16 convey hugely and we discovered them moving to work with, notwithstanding a few limitations. The character is certainly Minilogue-like on occasion however greater and bolder and the channel (with low profile) sounds incredible, with bags of personality. Nonetheless, it likewise conveys tremendous bass and cutting, burning leads, exemplary FM sounds, warm stringy cushions and punchy synth-metal – a demonstration of the flexible sound motor. Strikingly, the Prologue passages best, not on those frequently abused great VCO sounds yet rather on grouchy, murky, finished epic environments. With a little voice-panning, along with the amazing reverbs, deferrals, and mod impacts combined with the vibey VCO and multi-oscillator, the sound palette moves into unmistakably increasingly cutting edge or contemporary domain – and that is the place this synth truly conveys by the basin load.
Modal Electronics 002
Synth motor: Hybrid | Polyphony: 12-voice | Keyboard: 61 key, semi-weighted fatar keybed with aftertouch | Sequencer: 32 stage | Effects: Optional deferral, reverb and | MIDI I/O: In/Out/Thru | Connectivity: Headphone yields, stereo sound information, MIDI and USB (B-type) I/O, USB (A-type), ethernet, stereo sound yield, D-sub yield, pedal contributions for expression and support
- MPE support
- Huge sequencing options
- Premium fabricate quality
- Web-based editorial manager
The first synth to originate from the Modal Electronics stable, the 002 is a 12-voice crossover synth, fusing high resolution, numerically-controlled oscillators, which guarantee more noteworthy solidness. It accompanies two oscillators for every voice with two sub oscillators, which can be changed from being either traditional square wave to having a similar waveform as the principle oscillator – as a result making four oscillators for each voice. The 002 features 24dB per octave four shaft transistor stepping stool channel, which is of a unique Modal design. The channel accompanies some exceptionally strange transforming attributes or ‘polesweeping’, empowering smooth transition from four post through bandpass to one shaft 6db per octave, or anyplace in the middle.
18 Best High-End Hardware Synthesizers
Nord Lead A1 49-Key Analog Modeling Synthesizer
Synth motor: Digital | Polyphony: 26- – voices | Keyboard: 49-key with speed | Sequencer: No | Effects: Reverb, Delay, Flanger, Phaser, Ring Modulation, Chorus, Ensemble and Drive, delay/reverberation | MIDI I/O: In/Out | Connectivity: 4 line-level yields, headphones, MIDI and USB I/O, pedal contributions for control and continue
- Streamlined and simple to utilize
- Tough, minimized and truly portable
- Sounds wide, full and punchy with adaptable impacts onboard
- Lacks more profound tweakability of the Nord Lead 4
The Lead A1 features Nord’s Realtime Waveform Engine and furthermore happens to be an immediate trade for the 17-year-old Lead 2/2x territory. Cheerfully, the A1 likewise costs £300 not exactly the Nord Lead 4, so for those with a littler spending plan pining for the NL4, the A1 appears to be an incredible other option. Picking between the A1/NL4 will eventually come down to spending plan/required features and, however some may deviate, we think the A1 bodes well as an item, refining the pith of the NL4 into something that is fun, natural, and addictive. It’s hard to pick among this and the NL4, however in the event that you need that basic Nord sound with increasingly flexible impacts/impacts implementation and a less difficult interface for less money, the A1 is an engaging bundle.
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, chorale, phaser, flanger, revolving 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, continue and sequencer trigger
- Strong form, instinctive and fun
- Lots of modulation directing 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 an entirely new/welcome sound to Dave Smith’s lineup. Because of its adaptable and open example based design 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 however comparatively the X is utilizing the most recent innovation in an extremely melodic/rich way, while at the same time driving you into new sonic methodologies/regions. Construct 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 exceptionally high-caliber and, in spite of 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 unpredictability of your DAW’s modules (however without the object), at that point this is it!
Elektron Digitone 8-voice Digital Synth 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 likewise be utilized as a FM sound module or MIDI sequencer
- Sequencer and sound motor work together seamlessly
- Sequencer isn’t the least demanding to learn
Digitone utilizes old fashioned natural four-administrator FM synthesis (where waves balance one another) yet 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 legitimately by means of the sweet shop style T1-T4 buttons), along with four MIDI tracks for controlling/sequencing outside MIDI apparatus. 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 incredible impacts overlayed or ‘P-bolted’) that the Digitone shows its actual and brilliant hues.
Yamaha MODX8 88-Key Weighted Action Synthesizer
Synth motor: AWM2, FM-X | Polyphony: 192-note absolute | Keyboard: 61, 76, 88 keys | Sequencer: Yes | Effects: Reverb x 12 sorts, variation x 76 sorts, insertion (A, B) x 76 sorts, ace impact x 15 sorts A/D part insertion x 71 sorts | MIDI I/O: In/Out | Connectivity: 4-in/10-out sound interface, headphones out, USB (to host and MIDI), foot switch (assignable and continue), foot controller x 2 | Power: AC connector
- Motion Control motor and superknob
- Versatile sounds
- Serious portability
- No dedicated tonewheel organ, or VA motor
It’s hard not to gas for the MODX, given the value, features and sound. The general sound is perfect and splendid with average definition. Yamaha’s acoustic sounds are extraordinary and the CFX/Bösendorfer Grands sound incredible; the expansiveness of sonic region secured is tremendous. The EP ‘exhibition’ exhibitions/scenes are credible, while the acoustic guitars, strings, metal and woodwinds are quality as well. The FM-X motor (with eight administrators, 88 calculations, criticism, ‘unearthly skirt’ and access to the 18 channel types onboard) is scarily exhaustive and adaptable. Include Motion Control for developing sounds, the amazing impacts motors, A/D information and envelope adherent (with sidechain), a 5 sound system out/2 sound system in sound/MIDI USB interface, the convenientce and low cost and extremely, the MODX is an exceptionally alluring buy for a ton of performers.
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 particular sound!
- Some functions are covered up and not self-evident
Moog’s most recent semi-particular comes outfitted 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-shaded retro design that suits its bona fide vintage sound. The old-school approach is adjusted pleasantly with the inclusion of a spring reverb module – an uncommon inclusion in present day synths. Grandma is an adaptable entertainer, fit 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 particular circuits without taking out a second home loan.
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 sources of info | Power: AC connector
- Rich, full virtual simple sound
- Sampling capability
- Lightweight yet 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 evaluated and offering a strong synth motor, to a great extent fell under the radar. Be that as it may, v2.0 is a critical 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 extraordinary decision of design as it’s natural 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 delicate and aftertouch | Sequencer: 32-advance control sequencer | Effects: More than 30 calculations including reverb, chorale, 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 absolutely intelligent and amazing, it comes up short on the promptness of a portion of the less complex works of art, for example, Roland’s Juno-106 or Jupiter-8. So, this is a noteworthy first section 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.
Novation Peak Polyphonic Synthesizer
Synth motor: Analog/digital | Polyphony: 8 voices | Keyboard: None | Sequencer: No | Effects: Analog distortion, theme, delay, reverb | MIDI I/O: In/Out/Thru | Connectivity: Left and right sound outs, headphones, USB (MIDI), two pedal information sources, CV in | Power: Mains power
- An individual sound
- Multiple modulation and sound forming options
- Well manufactured and incredible hands-on control
- No keyboard version
Designed in consultation with Chris Hugget (Chris designed the incredible OSCar and worked together on a few other Novation synths), Peak is Novation’s present leader 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 principle sound sources. Every one of the three oscillators onboard presents the normal simple style waveforms (the saw has a thickness mode, adequately giving you a ‘supersaw’ mode), in addition to 17 wavetables, giving a huge scope of tonal conceivable outcomes. Pinnacle has a ton in the method for sonic forming options, a one of a kind and gigantic tone palette that is appropriate for all styles of electronica, and a lot of hands-on control. In addition, it’s well-constructed and decently estimated. Credit to Novation on a noteworthy machine!
Roland SYSTEM-8 Synthesizer
Synth motor: Digital (ACM demonstrating) | Polyphony: 8 voices | Keyboard: 49 keys, speed delicate | Sequencer: 64-advance sequencer | Effects: Overdrive, distortion, metal, fluff, smasher, phaser, delay, tune, 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
- Great and adaptable synth engine
- Plenty of hands-on control
- Comes with exemplary 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 least. It’s an eight-voice ACB-fueled polysynth with its own ground-breaking 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, seemingly Roland’s two best-adored polys. The S-8 motor offers a flexible arrangement that is equipped for a colossal 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 better than average vocoder (in addition to sound contributions with dedicated FX) and it’s hard not to be intrigued.
Moog Subsequent 37 Analog Synthesizer
Synth motor: Analog | Polyphony: Monophonic/paraphonic | Keyboard: 37-note, semi-weighted with After Pressure | Sequencer: 64-note sequencer | Effects: No | MIDI I/O: In/Out | Connectivity: Audio TS input, sound TS yield, headphones, CV/Gate inputs | Power: Mains power
- Exemplary Moog sound
- Can be utilized in couple paraphonic mode
- Syncable arpeggiator and step sequencer
- Not the least expensive
The Sub 37 is a pair/paraphonic constrained edition synth dependent on the Sub Phatty motor. Named the Tribute Edition – in honor of Bob Moog himself and his affection for education – each Sub 37 sold has a portion of the returns donated to Asheville Area School Music Programs. While both this and the Sub Phatty have their very own remarkable attributes, for Moog sweethearts the genuine boon here is the inclusion of the arpeggiator, something not in any case featured in the monstrous Voyager XL, not to mention different Phattys. Truth be told, with a more extravagant arrangement of features and far less operational obstacles than its antecedent, the Sub 37 is great. You can likewise look at the Subsequent 37, a restricted edition version of the synth that offers (among different things) four assignable CV yields and two assignable Gate yields for connectivity with particular frameworks, including those of the Eurorack assortment.
Roland JD-XA Synthesizer
Synth motor: Analog/digital | Polyphony: Analog, four voices; digital 64 voices | Keyboard: 49-note, speed delicate 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 fundamental 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/entryway yield jacks, USB (sound/MIDI) | Power: AC connector
- Simple and digital motors can create one of a kind 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 great deal to satisfy when it was discharged in 2015. Joyfully, it conveys. The JD-XA is massively flexible. It can go about as an incredible simple and half and half mono/polysynth, and features one of the most delightful vocoders we’ve utilized. There are a lot of modulation options onboard, the worldwide and addition 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 motivating and one of a kind sounding synths of ongoing occasions.
Dave Smith Instruments OB-6 6 Voice Analog Synthesizer
Synth motor: Analog | Polyphony: 6 voices | Keyboard: 49-note, speed touchy with aftertouch | Sequencer: 64-advance polyphonic advance sequencer | Effects: Stereo simple distortion, reverb, delay, tune, 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
- An extraordinary Oberheim/Dave Smith crossbreed
- 2-post state-variable filter
- Good modulation facilities
- Some board marking 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 motivated by his unique SEM. Truth be told, the OB-6 guarantees “genuine, vintage SEM tone with the dependability and adaptability of present day innovation”. The engineering 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-enlivened state-variable channel (low-pass, high-pass, band-pass, and score). Finishing the sign way are voltage-controlled speakers. 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 quite a long time to come.
Modal Electronics 008
Synth motor: Analog | Polyphony: 8-voice | Keyboard: 61 key, semi-weighted fatar keybed with aftertouch | Sequencer: 32 stage | Effects: Optional deferral, reverb and | MIDI I/O: In/Out/Thru | Connectivity: Headphone yields, stereo sound information, MIDI and USB (B-type) I/O, USB (A-type), ethernet, stereo sound yield, D-sub yield, pedal contributions for expression and continue
- 100% simple VCOs
- Web-based editor
- Plenty of modulation options
- No MPE support
Propelled in 2015, the 008 was a major articulation of purpose by Modal Electronics. At its heart, the 008 is an eight-voice, 16-VCO and 16-sub oscillator unadulterated simple polysynth. Its controlled by an altogether simple motor. Every one of the eight voices features two VCOs (offering sawtooth, triangle, and square waveforms with PWM and commotion) and two sub oscillators. The waveforms can be mixed to make complex new wave shapes. The channel, then, offers 16 sorts and additional channel overdrive, while the channel envelope is said to be ultra-quick and can be alloted to any parameter. There are additionally two LFOs with different wave shapes. Different features incorporate oscillator and channel FM and a modulation grid, while there’s likewise a 4.3-inch, full-shading, context-delicate display. A sequencer and arpeggiator are set up, as well, just like the option to control and alter the 008’s functions from any HTML5-perfect program. The synth has a strong steel frame and accompanies a five-octave Fatar keyboard.
Pioneer Toraiz AS-1
Synth motor: Digital | Polyphony: 8-voice | Keyboard: No | Sequencer: No | Effects: Chorus/flanger, delay/reverberation | MIDI I/O: In/Out/Thru | Connectivity: Left and right sound out, MIDI and USB I/O, pedal contributions for volume/modulation and continue
- Well built
- Hands-on interface
- Some pleasantly unconventional options available
- Quite costly
Sonically the NF-1 can be upfront or surrounding in character and we love its general vibe and sound – it can cheerfully make grungy, lo-fi and metallic clamors/sounds yet inside a couple of dial changes you’ll discover pleasantly warm cushions, shimmering FM chimes/organs/pianos, round or nasal basses, talking sounds (utilizing the formant channel), wide simple sounding strings and sawtooth metal patches, shockingly profound subs (for a 12dB per octave channel machine), encompassing developing surfaces, out-there FX and that’s just the beginning. It is one of the most rousing synths we’ve attempted in some time and it will speak to studio-based sound designers/makers and live tweakers searching for something that thinks outside the box as far as format and sound. Practically every parameter onboard can be tended to/sent over MIDI as well. To conclude, it’s not modest but rather it’s a pleasantly extraordinary sounding/looking synth and it merits your attention. In case you’re searching for a synth that is very active and that motivates special new sounds and thoughts rapidly, the NF-1 is executioner!
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 support
- Fabricated 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 own yield for free preparing. Significantly, there are four autonomous synthesis motors (over the three oscillators). It is genuinely one of a kind and fit for shocking, supernatural, or natural sonic outcomes. It can sound colossal, little, flimsy, 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, great sound design, SFX for lm/TV, abnormal advancing soundscapes, straight-up simple synth emulation, FM-type sounds, and eery FX/atmos sounds, the Quantum is phenomenal. Truly, it’s expensive yet it merits the venture – you’ll never get exhausted with this measure of profundity and wonderful sonic outcomes.
Dave Smith Instruments Sequential Prophet-6
Synth motor: Analog | Polyphony: 6-voice | Keyboard: 49-note, speed delicate with aftertouch | Sequencer: 64 stage | Effects: Distortion, tune, phaser, delay, reverb | 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, support footswitch input, sequencer start/stop footswitch input
- Superb sounds
- Audio information would have been pleasant
It’s only taken about 37 years after the first Prophet-5 was propelled and we currently have the Prophet-5’s profound successor – the Prophet-6. With the 64-advance polyphonic MIDI (and sound) syncable sequencer, the extraordinary sounding digital impacts, MIDI control over most parameters, USB-MIDI communication, elective tunings or more all that executioner sound, the P6 is clearly bound to be a future-great. Fortunately, there are not many drawbacks to report and, albeit a sound information and CV ins/outs would have been pleasant, the P6 absolutely conveys forward the light of its vintage ancestor outstandingly. Clearly, as an excellent independent discrete VCO/VCF polysynth it’s not modest, sitting just underneath the lead P12 value savvy (and feature-wise it’s more streamlined than the P08, Pro 2 or P12); nonetheless, it’s shockingly adaptable and sounds a million dollars – we think for the vast majority of us, that is the main concern.
Yamaha Montage8 Synthesizer Workstation
Synth motor: FM-X, AWM2 | Polyphony: 128-note | Keyboard: 88-key with adjusted sledge impact | Sequencer: 16-track | Effects: Reverb x 12 sorts, Variation x 76 sorts, Insertion (A, B) x 76 types*, Master Effect x 15 sorts *A/D part insertion x 71 sorts (Preset settings for parameters of each impact type are given as formats) Master EQ (5 groups), first part EQ (3 groups), second part EQ (2 groups) | MIDI I/O: In/Out/Thru | Connectivity: MIDI, USB, foot controller, foot switch (assignable/support), adjusted yield L(mono)/R, assignable adjusted yield L/R, headphone yield, adjusted A/D input L/R
- Great form and shocking sound
- FM-X engine
- Deep and amazing sound design
- Lacks a dedicated tonewheel organ motor, VA motor, direct testing and profound sequencer
Alright, so we lied marginally about there being no workstations in this current purchaser’s guide, however there’s a ton about the Yamaha Montage that makes it fundamental to this rundown. By and large stable quality is staggering; wide, spotless and exact with enough warmth and sheen. Yamaha’s acoustic sounds are additionally wonderful here and the CFX/Bösendorfer grands sound stunning, the clavinets are currently increasingly true and the EP ‘exhibition’ exhibitions are extraordinary. The acoustic guitars are additionally executioner (particularly joined with the arpeggiator) and the strings, metal and woodwinds are motivating. The FM-X motor (with eight administrators, 88 calculations, criticism, ‘otherworldly skirt’ function and access to the 18 channel types) is thorough and sonically adaptable, with the greater part of the exemplary DX sounds onboard as well, in addition to there’s a conversion utility at Yamahasynth.com for converting/dropping unique DX sounds into the Montage. Include Motion Control for advancing sounds, the great FX motors/vocoder/envelope supporter, ground-breaking arpeggiator and 16 sound system out/three sound system in sound/MIDI USB interface, and everything means an incredibly amazing/flexible machine.
Synth motor: Analog, digital | Polyphony: 6-note paraphonic | Keyboard: None | Sequencer: 64-advance | Effects: None | MIDI I/O: In/Out/Thru | Connectivity: MIDI, USB, foot controller, foot switch (assignable/support), adjusted yield L(mono)/R, assignable adjusted yield L/R, headphone yield, adjusted A/D input L/R
- Characterful simple/digital synth engine
- Sequencer and cushions have bunches of potential
- Plenty of modulation
- No onboard impacts
Medusa is contained a simple synth motor provided by Dreadbox matched with digital synthesis and sequencing apparatuses created by Polyend. This is something beyond a basic instance of lashing a digital advance sequencer to a subtractive synthesizer however; features, for example, wavetable oscillators, three-dimensional playable cushions and full parameter sequencing plan to make this an instrument that can do bleeding edge sound design similarly just as it does vintage simple. The sequencer side is made out of 64 elastic cushions which can be utilized in two modes: Notes, where the cushions go about as a playable ‘keyboard’ and Grid, in which each cushion speaks to a sequencer step.