Atthe heart of most recording studios, alongside the multitrack recorder,mixer, mics, and monitors, you'll find a synthesizer — often morethan one. It might be an 88-note weighted keyboard controlling a stackof MIDI modules or a portable USB keyboard linked to a laptop stuffedwith the latest soft synths, but the ultimate in prestige andconvenience is a top-of-the-line synthesizer. Many studio owners aspireto own pro-level recording gear that will attract well-heeled clientsto book time at their facilities, and one object that's sure to impresspotential customers is a first-rate synth with all the bells andwhistles.

The premise for this article was simple: to select and evaluate themost desirable, drool-worthy electronic instruments, synthesizers thatare undeniably objects of technolust. Coming up with a list wasn'tdifficult; all I had to do was look around and see what excited me. Thefirst hurdle was narrowing the field to just seven candidates.

When I discussed the idea with the other EM editors, wedecided to exclude instruments that we'd already covered more than oncein the magazine. We've published several reviews and a Master Class onthe Korg Triton and its various manifestations, and the Yamaha Motifand Kurzweil 2600 are also in danger of overexposure. Last year, we rana review of the Swedish-made Clavia Nord Lead 3, and I wrote about itsrackmount counterpart, the Nord Rack 3 module, in the August 2002 synthroundup, “Analog Supermodels.” We considered the monophonicMoog Voyager but decided that it warrants a full review (stay tuned).Thus, my initial list was whittled down to seven.

THEN THERE WERE SEVEN

The next challenge was acquiring all seven instruments at the sametime. A few were very scarce but nonetheless very sought after. In somecases, their manufacturers simply hadn't caught up with demand, muchless produced spare units to send to reviewers. Weeks into my quest forthe seven deadly synths, I began to fear that I would need to revise mylist. But with patience, perseverance, and persistence, I finally gotmy hands on every synth on my A-list — even two rare,rackmountable, analog boutique models, the Jomox SunSyn and the StudioElectronics Omega 8. The remainder reads like a wealthy rock star'sshopping list: the Hartmann Neuron, the Waldorf Q+, the NovationSupernova II Pro-X, the Access Virus kc, and the Roland V-Synth.

The seven synths I chose have plenty of similarities. The five thataren't true-analog modules employ subtractive synthesis with acombination of analog modeling and sampled wavetables. Most havemulti-effects processing, at least one arpeggiator, a vocoder, and theability to process external audio. All but the two modules havefive-octave keyboards. All seven have front panels studded with knobsand buttons, multimode filters, extensive modulation routing, and aprice tag over $2,500. Four are German-made, one is British, one isJapanese, and one was designed and manufactured in the UnitedStates.

ACCESS VIRUS KC

FIG. 1: With a five-octave keyboard, theVirus kc is at the top of Access's synthesizer line. Like all thecurrent virus models, it's a virtual-analog synth with frequentoperating system upgrades.

Access Music manufactures four synthesizers with virtually identicalsound engines and capabilities. All are descendants of the Virus A andsubsequent Virus B analog-modeling synths. The series now comprises thefive-octave keyboard Virus kc ($2,595), the three-octave keyboardIndigo 2 ($2,595), the tabletop Virus C ($1,995, reviewed in the August2003 issue), and the Virus Rack XL ($1,495). The Virus Rack Classic($945), yet another variation, has half the polyphony of the others,and Indigo TDM ($795) is a plug-in version for Pro Tools users. I chosethe top-of-the-line kc model as the deadliest Virus.

The Virus kc is lovely to look at, with 32 high-quality knobs, 35square buttons, and 69 indicator LEDs (see Fig. 1). All thecontrols are grouped onto just less than half the front panel, allwithin easy reach of your left hand. The Virus's liquid crystal displayshows 32 hard-to-read black characters on a dark red background. Likethat of all the other keyboards I tested, the Virus's action issemiweighted, but it feels like the best of the bunch. On the rearpanel are ¼-inch jacks for six assignable outputs, two audioinputs, a sustain switch, an assignable footpedal, and stereoheadphones, as well as MIDI In, Out, and Thru ports. Digital audio I/Ois not an option.

In addition to the external audio inputs, the Virus's sound sourcesare three oscillators, a suboscillator, and a noise generator withthree colors. Each of the three oscillators produces a waveform that'scontinuously variable from sawtooth through pulse, and 64 otherwaveshapes are available, including sine and triangle. Sync, FM, andring modulation are provided. The Virus's polyphony maxes out at 32dynamically allocated notes, but any Program that uses the thirdoscillator reduces polyphony by about one-third. Consequently, mostsounds use only two oscillators.

The Virus has two versatile resonant filters, each offering lowpass,highpass, bandpass, and bandstop response. Four routing modes determinetheir slopes and whether they're in series or parallel. In Split mode,for example, oscillator 1 is routed to filter 1 and the others tofilter 2, and both filters have a 12 dB-per-octave slope. The filtersection's Saturation stage is always downstream from filter 1. Itimparts a sound, ranging from warm overdrive to hard clipping, to eachvoice individually. In addition to altering any sound's harmonicspectra, it's capable of reducing bit depth and sampling rate. CertainVirus sounds owe their particular character in large part toSaturation.

The two envelope generators (EGs) are standard ADSR, but the sustainstage has an additional Time parameter that you access from the Editmenu or by using a shortcut. A mixer combines signals from theoscillators, noise generator, and ring modulator. Two soft knobslocated below the LCD change the values of whatever parameters appearin the display; most factory Programs provide one or two differentreal-time parameters for the soft knobs.

The LFOs/Mod section offers extensive modulation routing, and youcan morph LFO waveforms from one shape to another. The three LFOs cansync to the master clock or to MIDI Clock, either of which also drivesthe arpeggiator. The arpeggiator supplies 64 factory patterns, most ofwhich are oriented for 4/4 time. For additional time signatures, youcan divide the arpeggiator's clock into subdivisions of the mastertempo. In either Single or Multi mode, you can play as many as 16arpeggiators at the same time.

The Virus's sound is rather distinctive and very flexible, evolvingfrom ethereal to punchy at the twist of a knob. I'd never mistake itfor a real analog synth, but it's one of the finest-sounding virtualanalogs. Although its subtractive-synthesis architecture is similar toanalog, a handful of extra features contribute to the Virus'scharacteristic flavor. The Virus holds as many as 1,024 Programs. AllProgram locations are user-programmable, but only two of the eightBanks are RAM-based. The remaining six, like the operating system, areprogrammed into flash ROM. As it ships from the factory, four Banks arefilled with factory Programs; the remaining memory contains a demosong, which you can delete. You can easily replace what's in memory byplaying a Standard MIDI File (supplied on CD-ROM) into the Virus andpressing the Store button. The CD-ROM also contains a Virus-specificversion of Emagic SoundDiver (Mac/Win). Plenty of Virus Programs tosuit almost any style of music are also available from the Access MusicWeb site and many other online sources.

You can update the Virus's operating system the same way you replaceProgram Banks: by playing a MIDI sequence. The latest version, OS6,adds a feature called Pure Tuning, Access's adaptive tuning technologythat analyzes chords in real time and retunes each note for perfectintonation. By overcoming some the compromises of equal-tempered tuningto eliminate beating between notes, the Virus can play distorted soundsin chords that ring out with unusual clarity. OS6 also bestows dozensof new command shortcuts and the latest arpeggiator patterns. AccessMusic has an admirable history of providing free system updates thatextend the Virus's capabilities. Any buyer of a Virus can be prettysure that it will do more in a couple years than it could when it wasnew; you have to like that!

HARTMANN NEURON

FIG. 2: The Hartmann Neuron is thisyear's darling of the electronic-music world. It features a unique userinterface and unprecedented hands-on control of instrument modelingparameters.

High on the desirability scale is the most expensive synth on thelist, the Hartmann Neuron ($4,995). It's also the most unconventionaldesign, as evidenced by its outward appearance (see Fig. 2). Itsstriking elegance invites you to sit down and play. The Neuron has only9 traditional knobs, but it has dozens of buttons and indicator LEDs, 5joysticks, 13 backlit LCDs, and 14 wheels with LED ladder displays. Allknobs and wheels are of the infinite-rotation variety. You switch onthe power by pressing a huge illuminated orange button on the rearpanel, which is otherwise unoccupied. When the power is on, you hearthe whisper of fans cooling the internal 20 GB hard drive.

A beautiful pale wood panel covers the Neuron's right side. All itsconnections to the outside world are grouped on the left panel: sixanalog outputs, two analog inputs, a pair of coaxial S/PDIF ports, astereo headphone jack, three control-pedal ports, three MIDI ports,USB, and an IEC power socket. The USB port enables connection toexternal hard drives and CD burners as well as computers. The sixunbalanced ¼-inch outputs are assignable, and they're labeled asoutputs for 5.1 surround sound.

You control pitch bend and modulation with a self-centering,translucent orange plastic joystick, which feels just a bit fragile forsuch duties. Additional left-hand controllers are the Master Volumeknob, an assignable Control knob, and an assignable wheel. You caneasily reach all four without lifting your hand.

The Neuron's appearance isn't its only remarkable feature; its soundand architecture are likewise out of the ordinary. The Neuronresynthesizes sampled sounds and then lets you select from a list ofModels. You sculpt the sound by manipulating whatever parameters appearmost suitable for it; exactly what parameters are available depends onthe Model you select. Because the choice of parameters depends on thenature of the sound itself, many of the front-panel controls are, bynecessity, reconfigurable.

The Neuron is organized into sections that correspond to traditionalsynthesizer modules. Nonetheless, Neuron users will need to learn a newnomenclature that reflects Hartmann's fresh approach to soundsynthesis. Instead of oscillators, the Neuron has Resynators, and thefilter and insert effects are lumped together in a section calledSilver (because, Hartmann says, they add “a lustrousshine”). Some of the name changes seem unnecessary: the LFO iscalled Mod, and ADSR EGs are called Shapers — so much forstandardization. Your first stumbling block in learning the Neuron,then, is acquiring a new vocabulary.

Changing the name of the oscillators makes the most sense, becausethe Resynators do much more than simple oscillators. They are the soundsource and its environment, as well as direct access to parameters youuse to change their various characteristics. The modeled sound sourceis called the Scape, which corresponds to resonating strings or vocalchords, for example. Controlling the Scape allows you to govern theattributes that form a sound. The environment from which the soundoriginates is the Sphere; this might be a violin body, a singer's chestand throat, or the room in which a sound occurs. Because using computermodeling to re-create a stringed instrument is so different from usingit to re-create, say, wind and rain, each Model's Scape and Sphere havea different set of parameters.

The Neuron allows you to manipulate the characteristics of the Scapeand Sphere in real time, using buttons and joystick controllers, calledsimply sticks. The sticks are shaped so that you can grab them eitherwith your forefinger and thumb or with only a fingertip. In the cornerssurrounding the sticks are four LCDs that show a parameter name and itsthree-digit value. The parameters at opposing corners are oppositecharacteristics, such as Simple and Complex, SmallBdy and LargeBdy, orMtrSoft and MtrHard. They can also be opposite ends of the samespectrum, such as 000StrTensn and 127StrTensn.

You can record your stick movements to modify parameters in realtime and then play them back as a sequence. More often, you'll use anADSR envelope to modulate parameter values. A button press quicklyswitches the four displays from Scape to Sphere parameters, and aParameter Level button switches among three parameter sets for each.Located between the two Resynators is the Blender, which lets you fadefrom one Model to another, so you can morph from a Hammond B-3 to abell, for instance, or even from crickets to fire. You can control thetransition manually with the Blend wheel or automate it with aShaper.

The section labeled Silver comprises a resonant multimode filter andtwo multi-effects processors. As with the Resynators, you control fourreassignable Silver parameters with a stick. At least the filterparameters are familiar: cutoff, resonance, mix, and feedback.Accessing the filter menu lets you specify whether the filter type islowpass (with a choice of three slopes), highpass, or bandpass.Silver's effects are divided into Frequency and Time types. Frequencyeffects include EQ, compression, distortion, ring modulation, and thelike. Time-based effects are stereo spread, delay, phaser, flanger, andchorus. You can use Silver's stick to control an effect's two mostimportant parameters in real time. You can also use it to controlpanning when the Neuron is in Surround mode.

As I mentioned previously, the three Shapers are ADSR EGs. As withother synths, one envelope normally controls filtering, anothercontrols amplitude, and the third is assignable. For more complexcontours, you can combine two Shapers to create an envelope with fourlevels and four time values. You control each stage's value with wheelson the control panel. Although fine-tuning envelope values with thewheel is easy, I usually prefer sliders; I seldom need to tweak attacktime, for instance, by only a millisecond. (Envelope times aren'tcalibrated in milliseconds, though, but in a range of values from 0 to127.) Flanking each Shaper wheel is an LED ladder that lets youconveniently view envelope values at a glance. You can control envelopedepth with Velocity or Aftertouch.

The section labeled Effects applies delay and reverb to the Neuron'soutputs. The stereo delay has a tempo tap function for matching delaytime with tempo. The reverb is definitely of the highest quality I'veever heard in a synthesizer, and it's in large part responsible for thesumptuousness of many of the Neuron's factory sounds.

The Neuron ships with 286 included Models, with enough locations for512. They run the gamut from Ambientpad and Tapestring to Paper andExhaust; instrumental Models range from Tuba to Telecastr. As Imentioned, each Model has a different set of parameters; one level ofthe B-3 organ Model, for example, provides the parameters Warm or Coldand Planar or Tubular for the Scape. You can also create your own Modelusing the included ModelMaker software (Mac/Win). The selected Modelalso determines the Neuron's polyphony, which maxes out at 24notes.

The Neuron is 4-part multitimbral and has memory locations for 1,000sounds, though it currently ships with only 190. Whenever you select asound, it takes about a second to load — sometimes more andsometimes less, depending on its length and complexity. Many of thesounds are steeped in atmosphere — unidentifiable sources withgradual attacks, awash in heavy reverb. Other than a few acousticguitars, synth basses, electric pianos, brass instruments, and stringensembles, emulative sounds are in short supply, but I don't mindleaving those duties to other synthesizers. Most of the Neuron's soundsare subtly beautiful and even awe-inspiring. They sound electronic, yetvery organic in nature. The Neuron really is like no other instrumentI've ever heard.

JOMOX SUNSYN

FIG. 3: The Jomox SunSyn is atrue-analog synth module with extras such as external audio processing,digital wavetables, and four independent filterpoles.

The SunSyn ($3,495) is an authentic analog synth module from Germanmanufacturer Jomox. With wooden side panels attached, it's a tabletopmodel, but you can remove the panels to mount it as a 6-rackspacedevice (see Fig. 3). The SunSyn is 8-note polyphonic and 8-partmultitimbral, so each voice can act as an independent monosynth. Eachcompletely programmable voice has two analog voltage-controlledoscillators (VCOs), two digital Ramp-Controlled Oscillators (RCOs), apink- and white-noise generator, a multimode voltage-controlled filter(VCF), a stereo voltage-controlled amplifier (VCA), two discrete analogADSR EGs, and two digital LFOs. The SunSyn's analog routing matrixallows you to repatch the signal flow by simply pressing buttons.

All connectors are located on the rear panel (or on top when it'srackmounted). The SunSyn has two inputs, eight individual outputs, twomain outputs, and a stereo output for headphones. Except for the threeMIDI ports, PC Card slot, and IEC power socket, all are balanced¼-inch jacks. The inputs accept both audio signals and controlvoltages.

As it should on any synth worth its salt, the front panel's logicallayout makes the SunSyn's architecture easy to grasp. A backlit, yellowgreen, 2-line-by-24-character LCD reveals program and parameter namesand data, and a large three-digit LED shows program numbers andparameter values when you turn any of the 40 knobs. Most of theparameters hidden in menu pages pertain to the arpeggiator, MIDI, andglobal setup (though the arpeggiator is not yet implemented). You caneasily access those with the Page and Menu buttons, four soft buttons,and four corresponding soft knobs. All of the other section havededicated knobs, buttons, and indicator LEDs.

The VCOs generate either sawtooth or variable-width pulse waves, butnot both simultaneously. Knobs tune the VCOs in semitones and cents,and Range buttons quickly transpose frequency by octaves. Pressing theSync button hard-syncs VCO 2 to VCO 1. If you press Restart, VCO 1always begins at a zero crossing when it's triggered — animportant feature for synthesizing percussive sounds. When you initiatethe auto-tune procedure by pressing the Sync and Restart buttonssimultaneously, its progress is detailed in the main display.

The RCOs play short samples stored in flash ROM, each exactly 256samples long, contained in one of seven tables called Wavesets. EachWaveset is a 16-bit, 44.1 kHz WAV file comprising 248 consecutivewaves. You can choose individual waves or several consecutive wavesfrom the RCO menu and play them in a loop, either forward or inreverse, to create distinctly digital timbres. You can play the RCOseither with or without the VCOs, and you can sync the RCOs to the VCOsto increase their timbral complexity. (That gets especially interestingwhen you modulate one audio oscillator with another.)

You can't sample audio though the SunSyn's inputs, but Jomox sells aCompactFlash card with a PC Card adapter (approximately $67) on whichyou can copy monophonic WAV files from your computer. When you placethe card/adapter combination in the SunSyn's card slot, it convertsyour audio data to Wavesets. The company also has plans to postdownloadable Wavesets on its Web site. The SunSyn accepts cards aslarge as 64 MB that contain any number of Wavesets.

The SunSyn's filter offers a unique, fully configurable design withfour cascaded poles. You can specify the number of poles to produce a6, 12, 18, or 24 dB-per-octave slope. By changing the cutoff frequencyof each pole independently, you can even produce responses in betweenthose settings. No matter how many poles you select, resonance isalways applied to all four poles, so it self-oscillates as it would ona 24 dB-per-octave filter. You can switch any pole from lowpass tohighpass and combine them for bandpass response. You can also manuallytranspose from one set of filter parameters to another by programmingtwo filter Scenes and turning the Morph knob. The sound and flexibilityof the SunSyn's filter are quite remarkable.

One unique aspect of the SunSyn is its Routing System, which letsyou push buttons to quickly redirect signals as if you were repatchinga modular synthesizer. New routings are stored as part of a program.Two sources, from a selection of 16, are sent to a choice of 8destinations. The depth of the signal is controlled by one of eightModifiers. One Modifier, called the Control Element, is an assignableMIDI controller, such as the mod wheel or Aftertouch. The RoutingSystem serves as the SunSyn's modulation matrix, and it allows you toreroute oscillator signals for frequency, amplitude, pulse-width,cross-, and ring modulation.

External audio inputs are normally routed to the VCF and the VCA forprocessing, but you can also insert them into the Routing System tomodulate internal audio or control signals. An envelope followerconverts audio signals to control voltages. The filter's flexibilitymakes it ideal for processing audio signals in the studio.

Several planned features haven't been implemented yet. Thearpeggiator is under construction, and voice allocation in Multi modeneeds work. In addition, a few MIDI settings are still missing, so anumber of enhancements are forthcoming. Jomox plans to address theseconcerns by the time you read this.

The SunSyn stores 256 Single Sounds and 128 Multi Programs, all ofthem user-programmable. From the factory, over two dozen Single Soundsand all of the Multi Programs are blank. I also noticed that some ofthem have identical names, even though they're obviously differentsounds; apparently, no one bothered to rename them when they wereedited.

I was very impressed by the quality, utility, and versatility of thefactory programs. Thanks to its well-implemented architecture and theefforts of some obviously talented programmers, the SunSyn soundsawesome. Because I often prefer the sound of analog modeling to thereal thing (heretic that I am), I consider that to be no smallaccomplishment. Pads, leads, basses, electronic effects — theSunSyn puts a great collection of malleable analog sounds at yourdisposal. In fact, the SunSyn is the best-sounding polyphonic analogsynth I've heard in years.

NOVATION SUPERNOVA II PRO-X

FIG. 4: The Supernoval II Pro-X isNovation's flagship analog modeling synth. It offers a profusion offront-panel controls, including 136 buttons that light up when they'reactive.

The only British entrant in the lineup, the Supernova II isNovation's flagship synth. It comes in three keyboard models that varyonly in polyphony: the standard 24-note Supernova II ($2,999), 36-noteSupernova II Pro ($3,299), and 48-note Supernova II Pro-X ($3,499). Allthree are also available in rackmount models, and all but the Pro-Xmodel can be upgraded for additional polyphony. The Pro-X, of course,is the deadliest of all.

The Supernova II is an analog-modeling synth all the way —very straightforward and very powerful. It's an 8-part multitimbralinstrument with seven simultaneous effects per part, and all 56 effectsremain active in multitimbral mode. The arpeggiator is one of the mostsophisticated you'll find, and matrix modulation offers 130 possibleroutings for extreme flexibility. Onboard memory is sufficient to store1,024 user-rewritable Programs, 512 multitimbral Performances, and 400Drum Programs. For quick access, you can store 128 Programs,Performances, and arpeggiator patterns as Favourites. Featuring a42-band vocoder, versatile filters, and extensive temposynchronization, the Supernova II is a top-notch performanceinstrument.

With 43 knobs, 8 sliders, and 136 illuminating buttons, theSupernova's front panel wins the prize for supplying so much immediate,hands-on, real-time control (see Fig. 4). Whenever you turn aknob or move a slider, the complete parameter name and its value areshown in bright blue letters on the 2-line-by-20-character fluorescentdisplay, which is easy to read from any angle. The Supernova hasanother convenience I was pleased to see on a five-octave keyboard: apair of octave buttons that light up when they're engaged, locatedexactly where they should be, just above the pitch-bend and modwheels.

FIG. 5: Analog audio I/O, MIDI ports,control jacks, and a power connection populate the back of theSupernova II. If only digital audio I/O wereavailable!

On the rear panel are two master outputs and six assignable outputsarranged in pairs (see Fig. 5). All are unbalanced ¼-inchjacks that handle +4 dB signals. Two balanced ¼-inch audio inputsdouble as control inputs, and a third control input is also present.When you aren't processing external audio through the Supernova, thatgives you enough control inputs for three footswitches or pedals foradditional real-time control. Alongside the three usual MIDI ports andan IEC socket is an unused expansion port.

Each voice provides three oscillators and a noise generator. Eachoscillator offers variable-width pulse, sawtooth, and double sawtoothwaves, and you can select external audio as an oscillator source. Aunique Hardness parameter has the effect of smoothing the waveforms toemphasize the fundamental frequency, and you can modulate Hardness withtwo of the three ADSR generators, the two LFOs, the mod wheel, or anysimultaneous combination. When you engage the double sawtooth, a singlevoice can produce the sound of six oscillators. With full 48-notepolyphony, then, the Supernova II Pro-X has all the impact of 288simultaneous oscillators. Oscillator sync, ring modulation, and FM arealways available at the touch of a button.

Dedicated buttons in the filter section offer three resonantresponses — lowpass, bandpass, or highpass — each with achoice of three slopes: 12, 18, or 24 dB-per-octave. When you press theMenu button, however, you'll discover that nine dual filter types arealso on hand, each producing the effect of a pair of filters in seriesor parallel. You can modulate the cutoff frequency or resonance depthwith the mod wheel, LFOs, or EGs, but when you enable dual-filtertypes, they modulate the spacing between the two cutoff frequenciesinstead of resonance. Overdrive provides a warm saturation effect.

The Supernova's arpeggiator is one of the most comprehensive I'veseen. Going way beyond the typically limited palette of patterns, itoffers 384 user patterns and 256 factory patterns, half of themmonophonic and half polyphonic. Patterns have a maximum length of 64steps, and because you can vary each step's gate time and tie stepstogether, the Velocity-sensitive arpeggiator functions very much likean analog sequencer. For instant Tangerine Dream, just set up a complexpattern and modulate it by triggering notes on the keyboard.

Effects are another area where the Supernova really shines, if onlyfor the sheer number that you can use at the same time. You can turn onseven simultaneous effects (including EQ) for each Program. All but oneeffect has a dedicated section on the front panel with enough knobs andbuttons for meaningful real-time control: 2-band EQ (simple Bass andTreble knobs), distortion, pan, delay, reverb, andchorus/flanger/phaser. Pressing the effects section's Special buttonaccesses various menus for setting the comb filter effect.

The Supernova II's sound is like that of all Novation synthesizers:wonderful. So many oscillators in combination with a proprietary filterdesign results in obscenely lush, fat timbres. The quality and varietyof the factory Programs is most impressive. The onboard sounds are anexcellent balance of leads, pads, basses, and electronic effects.Acoustic emulations are scarce, but if you're searching for analog-likesounds with a digital edge, the Supernova II will do the job admirably.One final note: as this article was going to press, Novation informedEM that it was discontinuing production of the Supernova II.

ROLAND V-SYNTH

FIG. 6: The Roland V-Synth has atouch-sensitive pad and a touchscreen display that provide ampletactile control. This V-Synth harnesses VariPhrase technology tomanipulate samples in real time.

You can always count on Roland to advance the state of electronicmusic technology. The V-Synth ($2,695) is the latest in a long line ofinventive designs that have kept the company close to the forefront fordecades. The V-Synth is Roland's first fully DSP-based synth, and itincorporates some of Roland's best ideas into an instrument withgroundbreaking sound creation and performance capabilities. Outstandingfeatures include user sampling, a user-programmable arpeggiator, andunique controllers for real-time expression.

The V-Synth is an analog-modeling and sample-playback synthesizer.It offers 16 multitimbral parts (under external sequencer control) anda maximum 24 notes of polyphony, a number that varies with the loadplaced on the sound engine. You can reconfigure the V-Synth'sarchitecture by selecting among three Structure types that define therouting of two oscillators, two COSM (Composite Object Sound Modeling)processors, a modulator (a mixer that provides oscillator sync, FM, andring modulation), and a time-variant amplifier (TVA). Reconfiguringsynth voices is nothing new, but this is the first time that Roland hasdedicated so many front-panel buttons to rearranging the buildingblocks of sound.

All the basics are covered, but their organization is a littleunorthodox. For example, each oscillator encompasses four EGs and anLFO, and you can replace any of the 300 factory waveforms with usersamples. The COSM processors provide various filters — lowpass,highpass, bandpass, notch, peak, sideband, and comb — as well aswaveshapers, effects, and dynamics. The reverb, chorus, andmulti-effects are separate from the effects provided by the COSMprocessors.

The V-Synth's front panel isn't particularly dense, but it is wellorganized. The first two things you'll notice about the V-Synth are itslarge touchscreen and its bull's-eye-like Time Trip pad (see Fig.6). All the performance controls are to the left of the display,and Patch-programming controls are to its right. All analog and digitalaudio ins and outs are located on the back panel, along with a PC Cardslot, IEC power socket, and ports for MIDI, USB, two footpedals, and asustain switch (see Fig. 7).

FIG. 7: The V-synth's audio portsinclude two 1/4-inch inputs with a mic/line switch, two 1/4-inch mainoutputs, a 1/4-inch stereo headphone output, and both optical andcoaxial S/PDIF. In addition, two 1/4-inch Direct Outs carry the samesignals as the two Main Out jacks, though untouched by the internaleffects processor.

The V-Synth's backlit, 320-by-240-pixel display responds to theslightest touch (Roland recommends that you use only your finger).Whenever possible, V-Synth parameters are presented graphically. Youcan point to an onscreen object to select it and drag to change itsvalue. If you'd rather, of course, you can use the front-panel cursorbuttons and Value dial.

Like any x-y controller, the Time Trip pad can control avariety of assignable destinations. When you press its Time Tripbutton, you can use it to modify VariPhrase time parameters withoutaffecting pitch. Press your finger on the pad to freeze a sound'splayback in time, looping the portion you've selected, and thenmanually scrub backward or forward through its content. The effect ofsuch manual control over wave content is hard to describe; suffice itto say that Time Trip is great for warping sounds as you play them.

Another noteworthy controller is the twin D Beam, which detects up,down, left, and right movements when you wave your hand over it. Youcan use the D Beam to control all the same parameters you can controlwith the Time Trip pad. In addition, two Assignable Control knobs areconveniently placed on the control panel's left side.

The V in V-Synth refers to Roland's VariPhrase technology. In1999, Roland introduced VariPhrase with the VP-9000, an innovativesampler and sound processor that could manipulate audio data in new andexciting ways. Although the VP-9000 was a disappointment in themarketplace (owing to its high price), Roland knew the technology was awinner. Luckily, VariPhrase was passed down to subsequent instrumentssuch as the V-Synth. VariPhrase lets you change any sound's pitch,time, and formant, independently and in real time. With thetime-expansion and -compression capabilities of VariPhrase, you caneasily adjust a sampled sound to fit tempo. Transposing formants letsyou extend a sample's pitch range much farther than normal, withoutunwanted artifacts such as munchkinization.

The V-Synth can work its VariPhrase magic on your original samples,too. To that end, the V-Synth contains 50 MB of RAM, which is notuser-expandable. You can delete any or all of the 30 MB of factorysamples to make room for your own. If you store your samples in the 10MB of onboard flash RAM, they can load instantly. The PC Card slotallows additional storage; with a CompactFlash adapter, you can storegigabytes of data.

The V-Synth's arpeggiator lets you create original patterns with amaximum length of 32 steps. You enter notes by step-time or real-timerecording or by dragging your finger in the Pattern Edit window, inwhich you can also specify each note's duration and Velocity. EachPatch can store its own arpeggiator pattern.

Much like the Korg Karma, the V-Synth's Patch presets make good useof its unique real-time capabilities. All Patches and wave data arerewritable, but you can always restore the original data — eventhe preset waveforms — with the Factory Reset command. Thelargest chunk of memory is called a Project; it contains all thePatches, waves, and settings. Only one Project resides in the V-Synthat a time, but you can store additional Projects on PC cards. Inaddition, you can exchange data with your computer by means of theV-Synth's USB port.

The Roland V-Synth is one of the two most flexible synthesizers inthe lineup. Most of the factory sounds are designed to show off itsperformance capabilities, and the V-Synth is all about real-timeexpression. As with most of the synthesizers in this article, acousticemulations are in the minority; however, I was tremendously impressedby many of the V-Synth's electronic timbres. To download additionalPatches, or just to check out the V-Synth in greater detail, visit www.v-synth.com.

STUDIO ELECTRONICS OMEGA 8

FIG. 8: The Studio Electronics Omega 8provides a 1/4-inch stereo output and a 1/4-inch trigger input for eachvoice.

The American-made Omega 8 is the most straightforward andtraditional synthesizer of the bunch. That's no surprise consideringits lineage: Studio Electronics got its start modifying Minimoogs,Prophet-5s, and Oberheim SEMs, retrofitting them for MIDI and stuffingthem into rackmount modules. Ten years ago, Studio Electronics turnedto making its own synthesizers using the same circuit designs asclassic analog models.

The Omega 8 comes in four built-to-order models that vary in theirpolyphony: 2-voice ($2,295), 4-voice ($2,995), 6-voice ($3,795), andthe standard 8-voice ($4,495). For the purposes of this article, onlythe 8-voice model would do. The Omega 8 offers true analog soundgeneration and processing, including discrete integrated oscillator andfilter circuits.

The Omega 8 is a 4U rackmount module that has a ¼-inch stereooutput and a ¼-inch trigger input for each voice, as well as¼-inch left, right, and mono master outputs (see Fig. 8).It doesn't have a separate output for headphones, and because the threemaster outputs are mono, you'll need an adapter to use stereoheadphones with those. Although any of the individual outputs willdrive headphones in stereo, you can hear only one voice.

FIG. 9: The Omega 8 is a true-analog,4-rackspace synth module with eight independent voices and multitimbralcapabilities.

The Omega 8's front panel contains a 2-line-by-16-character backlitLCD, 33 knobs, and 35 round buttons, most of which illuminate toindicate their status. Controls are divided into logical sections thatreveal the instrument's traditional orientation: Oscillators, Filter,Envelopes, Modulation, Arpeggiator, Programmer, and Multi/MIDI (seeFig. 9). For deeper timbre-shaping capabilities, most sectionshave an Edit button that accesses appropriate pages in the Programmersection. The same infinite-rotation encoder that changes displayedparameter values selects Patches. When you turn any other knobs,however, their values are not reflected in the display, so you mustrely on your ears and their positions.

The Omega 8 is classic analog in almost every respect. Each voicehas two VCOs, a suboscillator, a noise generator, three EGs, two LFOs,a stereo VCA, and a choice of two VCFs. The VCOs generate sawtooth,triangle, and variable-width pulse waves, all of which you can turn onat the same time for a really huge sound. You can sync the twooscillators or route VCO 2's signal to modulate VCO 1, filter cutoff,or both.

Because the VCOs are analog circuits, they're subject to frequencydrift. An auto-tune routine, initiated with a button labeled Accu-Tune,is mercifully quick. However, several times I encountered an irritatingbug: one or two of the voices consistently tuned a half-step low. Tosolve the problem, I put the synth in 8-voice Unison mode and played alow note before engaging auto-tune — a solution suggested by theextremely sparse operation manual. Incidentally, you can apply Unisonmode to play two, four, six, or eight voices with each note.

Although each voice of the Omega 8 has two filters (expandable tofour), you can select only one filter at a time, so you can't placethem in series or parallel. The standard complement is one 24dB-per-octave Minimoog-style lowpass filter and another that re-createsthe 12 dB-per-octave multimode filter found in the Oberheim OB-X. Theoriginal Oberheim filter let you sweep continuously from one responseto the next; the Omega 8's OB filter gives you a discrete choice oflowpass, highpass, bandpass, or band-reject modes.

The first two EGs are hardwired to control the VCF and VCA, and thethird is assignable to 1 of 19 destinations. They look like simple ADSRgenerators, but you can access two additional decay stages in theircorresponding Edit page, where you also set their Velocity response andinitial delay times. Either LFO can modulate 3 of 14 destinations andgenerate 6 basic waveforms. The arpeggiator is very basic, offering up,down, up-and-down, and random modes.

In Multi mode, you can assign each voice to play a different Patch.Voices can be layered or split and played on the same or different MIDIchannels. One uncommon Multi mode is called Prepared, which playssounds either in unison or alternately on the same MIDI channel; thatis, every note can play a different Patch. The Omega 8 doesn't save theedits you make to single Patches in Multi mode.

The Omega 8's raison d'être is its sound, filling thesoundscape with thick, luxurious analog timbres. Although most of thePatches are best suited for conventional keyboard duties (especially ifthey're funk-oriented), the Omega 8 supplies several interestingelectronic timbres and effects. If real analog sounds are what youcrave, the Omega 8 shouldn't disappoint. Two banks of 128 factoryPatches in ROM and two banks of 128 user Patches in RAM add up to 512memory locations, but Studio Electronics usually leaves the user banksblank. The Omega 8 also stores 128 user-programmable Multis. One nicefeature is that sounds load instantly when you turn the rotary encoder.The Omega 8 is unusually quiet for an analog polysynth, too.

Being a built-to-order item, the Omega 8 can be customized to suityour needs and pocketbook. In addition to choosing the number ofvoices, you can specify the color and even order specializedfront-panel graphics — for a price. Two additional filters areavailable, either for one voice at a time or in packs of eight. Onedesign duplicates the lowpass filter on the Roland TB-303 ($119 each,$900 for eight), and the other is a re-creation of the ARP 2600'smultimode filter ($129 each, $975 for eight). If you want anold-fashioned analog synthesizer that's tailored to your needs, StudioElectronics can build one for you.

WALDORF Q+

FIG. 10: The Waldorf Q+ differs from theoriginal Q in that it has 16 real analog lowpass filters and dynamicvoice management, which produces as much as 100-notepolyphony.

The Waldorf Q+ ($4,500) certainly qualifies as one of the world'smost desirable synths. Its respectable lineage can be traced toWolfgang Palm's legendary PPG Wave, and its designer is the same AxelHartmann who designed the Hartmann Neuron. The ruby-red Q+ is atop-of-the-line instrument that combines analog-modeling synthesis withwavetable scanning. Its outstanding features include a 25-band vocoder;a 32-step, analog-style sequencer; a 16-slot modulation matrix; and auser-programmable arpeggiator.

The rear panel has two main audio outputs, four assignablesuboutputs, a stereo input, two footpedal inputs, and a control inputthat accommodates one or two footswitches, all on ¼-inch jacks.One of the main outputs works with stereo headphones. An RCA jackprovides coaxial S/PDIF out. Three MIDI jacks, a RAM card slot, and atwo-prong socket for an AC cable are also around back.

On the front panel, 58 dedicated knobs are augmented by 39 buttons,a data wheel, a 2-line-by-20-character LCD, and dozens of indicatorLEDs (see Fig. 10). The only knob that isn't of theinfinite-rotation variety is the Volume control. Two assignable buttonsare conveniently located just above the pitch-bend and mod wheels. ThePower/Panic button isn't a simple on/off switch; instead of merelypressing it, you hold it for two seconds to power down.

Because each section has dedicated knobs and buttons, the frontpanel's layout illustrates the Q+'s architecture: three oscillators, anoise generator, two filters, three LFOs, four EGs, and two effectsprocessors per voice. In addition to sawtooth, variable-width pulse,triangle, and sine waveforms, two of the oscillators provide wavetablescontaining 128 Alt waves. You can sync the oscillators, which can alsoproduce frequency and ring modulation. Like the Access Virus, the Q+features its own brand of adaptive tuning technology called HMT, whichretunes chords in real time for improved intonation.

As the maker of the Microwave series of synths, Waldorf hasconsiderable experience at wavetable synthesis. You can assign the modwheel or an LFO to modulate the Alt wavetables, or specify that eachnote play a different wave. If you prefer, you can trigger differentwaves from the same note by varying Velocity values. You can alsosupplement each wavetable with a square-wave suboscillator.

Two identical multimode filters offer a variety of resonant responsetypes. In addition to its normal 12 and 24 dB-per-octave slopes, thelowpass type can emulate the unique character of the 24 dB-per-octavePPG Wave filter. You can also select 12 and 24 dB-per-octave slopes forthe bandpass, highpass, and notch (band-reject) types. Yet anothertype, comb filtering, passes all frequencies to create special effectssuch as polyphonic flanging or emulating certain acoustic sounds.

In most respects, the Q+ is identical to the much less expensiveWaldorf Q ($2,995). The plus refers to two significant features:real analog filters and dynamic voice management. Among the filtertypes, two choices are analog 12 dB lowpass and analog 24 dB lowpass.Because the Q+ has only 16 such filters, polyphony is reduced when youselect them — to either 16 notes for one filter or 8 notes forboth filters. When you put the filters in series, you can achieve aremarkable 48 dB-per-octave filter slope to produce sounds that mostsynths just can't. When the Q+ is in Multi mode, you can regain lostpolyphony by mixing in Instruments (individual programs) that don't usethe analog filters.

Real analog filters give Q+ timbres an opulent presence that justisn't possible with analog modeling, because they're physical hardwarerather than emulations modeled in software. (The Utility menu evencontains a Tune Filters command.) Considering that the filter is thecircuit most responsible for an analog synth's warmth and character,that plus is a big one.

Dynamic voice allocation is a scheme for increasing polyphony byusing the instrument's CPU efficiently. When any part of the soundengine — whether it's an oscillator, filter, effects, or whatever— is unused by an Instrument, the processor recovers the cyclesthat it would have consumed and uses them to increase polyphony.Consequently, less complex sounds yield as many as 100 simultaneousnotes, according to Waldorf.

The Q+ provides four EGs per voice, each with four ratherinteresting and useful modes in addition to the standard ADSR. ADS1DS2Rhas an adjustable attack level, as well as a second decay and sustainthat follows the first. Loop S1S2 is identical, but it loops betweenthe first and second sustain as long as you hold a note. Loop All isalso identical, but it loops through all stages when you hold a note.In One Shot mode, which is intended for percussive sounds, it doesn'tmatter how long you hold a note; the sustain stage is simply abreakpoint between the decay and release.

Although the Q+ has eight effects processors, each Instrument islimited to just two simultaneous effects. The first four Instrumentsdetermine the effects in Multi mode. The variety of effects, though notterribly extensive, includes the usual reverb, phaser, flanger, and thelike. One type, called Five FX, is a combination of sample and hold,overdrive, ring mod, chorus, and delay.

An unusual feature of the Q+ is Xphorm, which morphs between twosounds by interpolating between all continuous parameters. You canmanually control the Xphormation using either the mod wheel orAftertouch. Other synth designers have implemented similar capabilitieswith varying degrees of success, but Waldorf had the wisdom to limitmorphing to a sensible set of parameters, including mixer levels andpan; filter routing, cutoff, resonance, drive, pan, and modulationdepth; LFO speed, delay, and fade; envelope rates and levels; andoscillator pitch, pulse width, glide, and modulation depth.

The Q+ stores 300 single Programs and 100 Multis, as well as 20 DrumMaps and 100 step-sequencer patterns. Q+ sounds are rich, widely variedand wonderfully animated. Most of them lean toward electronic timbres,as they do in most analog-modeling synthesizers. Plenty of sounds areavailable from various sources, and the Q+ can receive sound dumps fromthe Waldorf MicroQ. With so many programming and performancepossibilities, I can't imagine anyone ever growing tired of the Q+.

THE SEVEN-SYNTH ITCH

Variety will always be the spice of life, and all seven synths havetheir own personalities. Still, they have more similarities thandifferences. Every keyboard in the lineup has a semiweighted action;I've played a lot more synthesizer than piano, so that's what I'm mostaccustomed to. Although all of them are perfectly fine, the Virus kc'skeyboard was my favorite overall. I realize that keyboard preference ispurely subjective, but I liked the action on the Virus and the V-Synthbetter than the others. The Virus and the Supernova also have theadvantage of textured black keys.

The Q+ had my favorite pitch-bend and modulation wheels; they have aresponsive feel and assignable buttons conveniently located just abovethem. I wish that every MIDI keyboard had other controls you couldreach with your left hand while still touching the pitch-bend and modcontrollers. The left-hand controls on the Hartmann are convenient, butthe joystick feels too lightweight. I've always loved Roland'sexpressive left-hand lever, though I wish you could pull it toward youfor negative modulation; still, it provides all the functionality of apair of wheels. I was disappointed that none of the synths have ribboncontrollers, but the V-Synth's Time Trip pad is in a class byitself.

In terms of real-time, front-panel control, every instrument isoutstanding. The Waldorf's infinite-rotation knobs take some gettingused to, as do the Hartmann's sticks and wheels. The Roland's huge,touch-sensitive LCD puts it way out front in the display department,though the Hartmann's many displays give you almost as much informationat a glance.

The most important criterion for judging any musical instrument, ofcourse, is its sound. There's no surprise here: all seven soundexcellent. Without exception, any one of them would be a valuable assetin any sound designer's or musician's arsenal, even if it's the onlysynth you own.

THE ENVELOPE, PLEASE

I could happily spend months playing and programming any of theseinstruments. My favorites, however, were the Hartmann Neuron and theRoland V-Synth. Both offer a flexibility and depth of expression thatare unprecedented in electronic instruments. The real-time controlcapabilities of the Neuron's sticks and the V-Synth's pad, combinedwith such sophisticated means to make sounds you've never heard,catapult those synths into the realm of instruments you can play withfinesse and nuance. If you can afford it, you can't go wrong with theNeuron, though the V-Synth is an amazing value.

I also fell in love with the Jomox SunSyn. It's versatile, welldesigned, and easy to use. It's well worth the price, and it soundsfantastic. If I were shopping for an old-fashioned analog synth withmodern conveniences, I'd look no further.

In describing my experience with these synths, I've only touched thesurface. Any one of them is so deep that it would take thousands ofwords to describe in detail. All are worthy of a complete review, aswell as your consideration.

All seven synths are stars for many good reasons: they offer greatprogramming depth, abundant real-time performance features, andspectacular sound. If you find yourself within arm's reach of any ofthem, you owe it to yourself to open your ears and give it a try.You'll hear exactly how far electronic musical instruments have come.Each of them is a wonder of 21st-century technology, and all of themshould be considered deadly.

To see the Seven Deadly Synths SpecificationsChart (in printable Adobe Acrobat format), click here.

Associate editor Geary Yelton lives in Charlotte,North Carolina. He has been playing and programming synthesizers for 30years and reviewing them for EM for 18 years.

CONTACT SHEET

Access Music Electronics GmbH/GSF Agency/TSI International Sales(distributor) tel. (310) 452-6216; e-mail gsf.agency@gte.net; Web www.access-music.de

Hartmann/GSF Agency/TSI International Sales (distributor)tel. (310) 452-6216; e-mail hartmann@hartmann-music.com; Web www.hartmann-music.com

Jomox/Soundbox (distributor) tel. (323) 769-5510; e-mail soundboxla@earthlink.net; Web www.soundbox.net

Novation E.M.S. Ltd./eblitz Audio Labs (distributor) tel.(805) 258-1465; e-mail eblitzaudiolabs@cox.net; Web www.novationmusic.com

Roland Corporation U.S. tel. (323) 890-3700; Web www.rolandus.com

Studio Electronics tel. (818) 776-8104; e-mail analogia@studioelectronics.com; Web www.studioelectronics.com

Waldorf Electronics/GSF Agency/TSI International Sales(distributor) tel. (310) 452-6216; e-mail info@waldorf-music.com; Web www.waldorf-music.com