Computer Music Presents

create great synth sounds for free / patch from scratch <
> Step by step 3. FM synthesis with VCV Rack

1 For our final digital patch, we’ll look at 2 We’ll need a VCA, too. And why not 3 Let’s drop in our first FM module. For
one of the most popular and powerful throw in a Delay module for this, we’ll use Bog Audio’s FM-OP. This
forms of digital sound generation: FM sweetening? We’ll route the top Out of the is a single FM operator complete with a
synthesis. Start by clearing the rack. For VCA into the Delay and the Delay’s Out to built-in envelope generator. We’ll route its
this patch, we’ll need an Audio module, so Inputs 1 and 2 of the Audio module. Out to our VCA’s topmost In jack. It
let’s grab one from the Core collection. Rather than using a MIDI module to drive generates a simple sine wave. This will be
This time, we’ll use our audio interface our patch, let’s choose a SEQ-3 module our carrier. Let’s run a cable from the SEQ-
drivers, rather than those of a DAW. from the Fundamental category. 3’s Gate Out to our FM-OP’s Gate In.

4 There is a tiny button labeled Env just 5 Let’s add a second FM-OP. This will be 6 Patch SEQ-3’s Gate to the second
to the lower-right of the FM-OP’s Level our ‘modulator’. Usually, FM synths FM-OP, and route the sequencer’s
knob. Click it to lash the module’s level offer four or six operators, but we can Row 1 to our carrier and Row 2 to our
control to its internal envelope. Now the make a nice percussive sound with two. modulator and tweak the knobs for both
sequencer is triggering the envelope. Set We’ll patch this new FM-OP’s Out to our rows. A classic metallic FM sound! Activate
FM-OP’s Attack and Sustain to 0, Decay to first one’s FM Input. Reduce the pitch of Env switch for the modulator FM-OP’s
9 o’clock and the Release to 1 o’clock for our second FM-OP to 10 o’clock. Crank the Level and tweak envelope settings for a
a percussive envelope. first FM-OP’s Depth knob up full. punchier sound. Get experimenting!

Three must-have digital modules

FREE
€522
FREE

SONUS MODULAR SONUS VCV AUDIBLE INSTRUMENTS MODAL BACON MUSIC
DEPT ADDICTION SYNTHESIZER AND RESONATOR5 CHIPYOURWAVES

Though additive synthesis is nearly two These are powerful physical modelling-based Bacon Music’s collection features – among
centuries old, it only reached maturity with modules. As it uses mathematical algorithms many other things – a handful of modules
the advent of computer-assisted synthesis in to recreate the physical behaviour of actual that are based on the chips used in Nintendo
the 70s. This is mainly because of the vast acoustical objects, physical modelling is by game boxes. Unlike the others found in the
number of oscillators, envelopes and nature a purely digital technique. However, as bundle, ChipYourWaves isn’t based on a
amplifiers needed to create anything but the owners of Mutable Instruments Elements and specific chip or circuit. Instead it’s an original
most basic waveforms. Addiction is a Rings know, physical modelling can be a design intended to capture the quirky spirit
powerful, free additive oscillator. great addition to a modular rig. of those devices.
bit.ly/Sonus_Dept bit.ly/AudibleInstruments bit.ly/Bacon_Chip

MUSIC PRODUCER’S GUIDE TO SYNTHS / 101

> buyer’s guide / the 6 best budget softsynths

the 6 best…

Budget synths

Fancy a cost-effective plugin synth for less than a ton?
Here are some of the best and most unusual we’ve tested

Puremagnetik Nighthawk Plogue Chipsynth MD
$20 £49

This “1980s-inspired soundscape This is effectively the sound engine from the
synthesiser” might boast one of the Sega Mega Drive/Genesis games console of
simplest interfaces here, but it’s also one of the 90s used as the core of a synth… and it
the cheapest synths you can buy. Sure it works! Make no mistake about it: Chipsynth
focuses on its retro credentials so won’t MD is a fine retro FM synth in the broadest
appeal to all, but there’s enough going on sense, capable of far more than the blips and
here to get some lovely sheeny sounds. bloops its gaming origins imply.
Nighthawk easily delivers on its neon-lit plogue.com
retro-styled promise, and this is another
satisfyingly weird and wonderful addition to WA Production Babylon
the Puremagnetik catalogue. $69

puremagnetik.com Ignore the looks as Babylon has lots of
features… and fine presets. A very capable
102 / MUSIC PRODUCER’S GUIDE TO SYNTHS synth with lots of onboard flexibility, meaning
you can throw it at a lot of tasks.
waproduction.com

the 6 best budget softsynths / buyer’s guide <

Native Instruments
Super 8
£59

This is Native Instruments’ first virtual
analogue polysynth since Pro-53 and wraps
up lots of lovely features in a brilliantly simple
interface, resulting in a very capable synth.
Super 8 beefs things up, yielding the kind of
weight demanded by contemporary
production without losing the essence of the
20th century synths that inform it. A brilliant,
synth that will win you over with its single-
screen immediacy and huge sound.
native-instruments.com

Rob Papen
Quad

€99

Quad features two oscillators,
each with their own sub
oscillator and four XY pads
(the quad bit) and delivers
loads of synth bang for your
Euro. Quad has a sonically
interesting and intuitive
design and covers a lot
of ground. It is easy to
program and delivers many
awesome sounds.

robpapen.com

Nektar Technology
Bolt
£89

Bolt uses ‘harmonics synthesis’ which
creates a frequency-shaped waveform
entirely within the oscillator, so you don’t
need a filter. And thanks to a sleek one-
window interface and intuitive workflow,
it’s easy to get great sounds from the
plugin. Bolt’s streamlined oscillator design
makes synthesis straightforward and fun,
and delivers the goods sonically.
Impressive basses, leads, keys, pads, FX,
percussion and anything else you could
ask of a quality synthesiser.
nektartech.com

MUSIC PRODUCER’S GUIDE TO SYNTHS / 103

> reviews / arturia v collection 8

BROWSER ADVANCED SIDE PANEL
Select presets either from the Deeper settings and enhancements Click icon to open
dropdown or search browser are found in this foldaway top panel the side panel and
SOURCE access the four
Choose from a voice tabbed pages
input or internal EDIT MACRO
sample playback to Select and edit the
act as vocoder destination
modulator signal parameters for the
four Macro controls
ADVANCED TAB
The advanced panel FILTER
often includes multiple Use the filter
tabbed panels sliders to tailor the
output of Vocoder
SAMPLE CARRIER EDITOR’S CHOICE V’s onboard
Vocoder V’s sample Vocoder V includes its own carrier synth
modulator mode includes two-oscillator synth which
a sample library or you handles carrier duties MACRO
can import your This new feature
own samples offers four broad
brush controls
PATCH BAY standardised across
Cross-patch filter bands to create all instruments
more interesting vocoder sounds

Arturia

V Collection 8 €599

The move to improve, enhance, add to and tweak already impressive
software bundles continues apace with this latest package from Arturia

Arturia’s V Collection (VST, VST3, AU, AAX E-mu and Roland. The recently released OB-Xa V brings with it a new preset browser, streamlined
and standalone) is a mainstay of the VSTi is joined by three completely new emulations – in-app tutorials (see box later), and four Macro
world that has grown over the years to Jun 6V, Emulator II V and Vocoder V. There are knobs in the bottom right of the plugin window.
incorporate a combination of mainstream and also two major updates in the form of Jup-8 V 4 The Macro controls provide standardised broad
rare synths, pianos, organs and string machines. and Stage-73 V 2. Once again the sound library brush editing across all instruments (Brightness,
Of course, you can purchase the instruments has been expanded and the PatchWorks bundle Timbre, Time and Movement), although note
individually, but the collection delivers a adds 700 contemporary presets. Across all that the parameters they control vary.
considerable financial saving and also includes instruments you now have over 10,000 presets,
their Analog Lab package, which is a preset- which is a staggering number. The 27 classic All instruments now have a foldout side
packed workstation that pulls together patches instruments are ARP2600 V3, B-3 V2, Buchla panel, which is accessed on the right hand side
from all of the instruments (see box out). Easel V, Clavinet V, CMI V, CS-80 V3, CZ V, DX7 V, using the gear icon. This panel has four tabs –
Although the names are sometimes modified, Emulator II V, Farfisa V, Jun-6 V, Jup-8 V4, Settings, MIDI, Macro and Tutorial. The MIDI tab
Arturia’s V instruments are full-on emulations of Matrix-12 V2, Mellotron V, Mini V3, Modular V3, accesses MIDI CC mapping and incorporates
original hardware synths and use their own OB-Xa V, Piano V2, Prophet V3, SEM V2, Solina parameter ranges as well as save and recall of
component accurate analogue (TAE) and V2, Stage-73 V2, Synclavier V, Synthi V, Vocoder specific mapping configurations. If you’re using
physical (Phi) modelling emulation technology. V, Vox Continental V2 and Wurli V2. an Arturia controller it’s also where you can
The highly accurate emulations are then specify which one. Macro provides access to
enhanced with plenty of software-only extras. Refresh settings for the four pre-assigned Macro
V Collection 7 added some tidy new controls. As mentioned, these are standardised
emulations based on classics such as the Casio To coincide with the release, all instruments across all instruments, but the parameters
CZ 101, EMS Synthi AKS and Mellotron. In have received a refresh. And whether you’re a controlled vary considerably and this is where
contrast, V Collection 8’s additions are very new purchaser or existing user, Arturia’s you can edit them. Additional multiple target
mainstream instruments from Oberheim, Moog, Software Centre app handles the download, parameters can be added and the existing
install and authorisation process. The refresh routings removed if you wish, and a handy

104 / MUSIC PRODUCER’S GUIDE TO SYNTHS

arturia v collection 8 / reviews <

“Without question, V
Collection 8’s hottest
addition is Jun-6 V,
based on Roland’s ever
popular Juno-6/60”

multipoint curve lets you specify precisely how Analog Lab V –
the macro behaves within its high and low limits. your one-stop
shop hub – gets a
Roland slick new refresh

Without question, V Collection 8’s hottest Analog Lab V assignable insert slots with a choice
addition is Jun-6 V. Based on Roland’s ever from eight effects including chorus,
popular Juno-6 and Juno-60, these are synths V Collection 8 includes Analog Lab V, flanger, distortion and filter. The global
whose simple architecture make them easy to the latest version of Arturia’s 3-band EQ provides further overall
program. Admittedly, the toy-like colour scheme workstation-style host plugin. shaping. In addition to looking
and slider controls may not be to everyone’s Designed for in-DAW use or as a considerably slicker, Analog Lab V now
taste, but the sound is killer. Jun-6V does an standalone app, it acts as a user hub for features a dedicated Stage mode which
excellent emulation job and a quick look at the all the Arturia instruments. It also upgrades the Concerts option from
presets reveals a bunch of numbered patches to provides library access to almost 7,000 Analog Lab v4. This provides a live
match the original Juno-60 sound set. There are factory presets (including some from performance preset hierarchy that
of course further presets (around 180 in total) their Pigments synth), management of uses Playlists made up from Songs.
and many of these take advantage of options user presets and also a purchasing Each Song can contain as many presets
not found on the original hardware. Enhanced storefront for additional Sound Banks. as you like, and any Macro and effects
parameters are accessed via the Advanced What’s more, if you’re a KeyLab or settings that you make are saved with
panel and here you’ll find a second ADSR MiniLab owner, navigating these the Playlist. Once in Stage mode the
envelope, a second LFO, Delay and Reverb sections and controlling key preset screen provides a less cluttered
effects, and flexible mod wheel, velocity and parameters is integrated into your interface, and you can simply page
aftertouch assignments. The second envelope hardware. Analog Lab V allows you to through the songs in your set and
and LFO are both far more flexible than the combine two presets either as a select the desired presets, adjusting
original ones. The LFO has six waveforms keyboard split or dual layer and key settings using the macros and
including sample-and-hold and both envelope includes a pedal-style effects section. effects panels at the bottom.
and LFO have two assignable destinations with This has two hard-wired global send
many parameter options. busses with reverb and delay, and two

If you like to use chord memories, Jun-6 V’s is As you might expect, Jun-6 V delivers solid Dark Triad, ethereal Voix Uno and arpeggiator-
accessed via the Chord Select button. This basses (Velo Bass and Under The Basement) and based Dub Sensation. It’s an excellent emulation
opens a floating window with a variety of handy pads of various timbres (Poly Unison Pad is a that really captures the essence of the original.
voicing presets (octave, fifth, suspended and so particular favourite). It also has plenty of
on). Finally, for analogue completeness there are contemporary presets including the rave-ready Also new in V Collection 8 is Jup-8 V4. Based
two further features. Voice Calibration emulates on the Jupiter-8, this long-running Arturia
the subtle variations that can exist from voice to instrument has been rebuilt from the ground up
voice on a hardware Juno. The three options with a brand new sound engine. This includes
(good, average and poor) let you choose how more authentic filter emulations, as well as core
much analogue drift is emulated. Chorus Noise engine enhancements such as Unison Detune
adds audio hiss when the chorus is in use. and adjustable Voice Dispersion. Throw in two
additional complex LFOs, three effects and
extensive keyboard response assignments
using Velocity, Aftertouch, Mod Wheel and
Keyboard Tracking and Jup-8 V4 can easily take
you to new tonal pastures. However, our
favourite enhancement is the integrated
Sequencer. This two-layer design provides both
note and modulation sequencers and is great
for creating specific note patterns or finessing
evolving textures. Finally, it’s worth noting that
one aspect has been removed from this update
and that is the keyboard split option.

Juno 6/60 emulation Jun-6V is our pick of the new additions Vocoder V

Software vocoders can be frustratingly
disappointing and confusion surrounding how
to implement the carrier and modulator signals
is often partly to blame. Vocoder V is Arturia’s

MUSIC PRODUCER’S GUIDE TO SYNTHS / 105

> reviews / arturia v collection 8

new Moog-inspired 16-band vocoder and it aims expand our sound palette and Emulator II V Stage -73 V2 is based on a
not only to capture the beauty of this classic does just that. It includes a collection of both classic Fender design
effect, but also to make the process of using it as classic and contemporary samples (over
rewarding as possible. To that end Vocoder V is a 300MB) spread across over 250 presets, and hitting basses such as FM Operator are joined by
voice analyser, synth and sampler all in one. you can of course import your own samples as some awesome sample-driven chord patches
What this means in practice is you can simply well. The reasonably straightforward keyboard (Acoustic Wall). All told Emulator II V sounds
load it up and play it as an instrument, as each interface gives way to a retro-inspired full great and is very easy to program.
preset includes one or more samples from its window Screen option and this is where you edit
accompanying library of over 700 samples. the eight-voice sample engine. Stage-73 V2
These act as modulators and the onboard two-
oscillator synth handles carrier duties. If you’d Editing functions are spread across three Basic electric piano instruments are pretty
rather use your own modulator, you can route in tabs – Edit, Assign and Effects. In the Assign commonplace. More complex instruments that
audio from another track or an external DAW page you set key spans, velocity response and actually capture the feel and individuality of
input. You’ll find instructions for your particular keyboard tracking. Meanwhile in the Effects these amazing keyboards are harder to find, and
DAW in the Tutorials. You could also simply page there are three rack effects. These include Stage-73 V2 is clearly aiming for the latter. Based
import your own samples. Vocoder V can handle chorus, reverb and delay as well as parametric on the classic Fender design it includes both
up to 12 samples, includes keyswitch or cycled EQ and multimode filter, and the rack can be Stage and Suitcase versions (the latter has
playback and even has real-time timestretch. configured either in series or parallel. additional treble, bass and vibrato controls), and
the Stage option comes in two versions, ‘73 and
Vocoder V’s actual vocoder section includes Unsurprisingly most of the action happens in ‘74. The core piano is then enhanced with a four-
modulator envelope shaping and a 16-band filter the Edit page, and here you can load and finesse pedal FX rig, amp rig and reverb. The 13 pedal
bank with global shift and global bandwidth your samples, choose loop points, adjust pitch effects including Rhodes-friendly options such
settings. The carrier synth output can be and set play direction. Each sample voice gets as analogue delay, auto wah and analogue
carefully tailored using the band sliders, and its own insert effect and a choice of Modern or phaser. Meanwhile the amp rig includes either a
there’s also a Patch Bay option. This means you Vintage digital to analogue converters. rotary speaker or classic twin reverb amp. The
have much more control over how the Meanwhile global processing stages are low- V2 update features a new engine, updated
modulator controls the carrier as you can cross pass filter and amplitude envelope. pedals and seven underlying model presets that
patch bands. If you’re not feeling inspired there emulate the tone of specific hardware versions.
are five patching presets to get things rolling. Emulator II V has some great early drum The model option is found in the Advanced
Rounding things off is an extensive modulation samples with over 50 kits that include plenty of settings panel, and it’s here that you can really
section with LFO and Envelope Follower, and a Roland classics. Modern sounds are also tailor the sound. First up you have three audio
three-module multi-effects section. included and showcased by presets such as Lofi output options (mono, stereo or room) along
808 Kit and Trap Hell Kit. Meanwhile hard- with hammer hardness. Three further sections –
With over 200 presets, getting started with mechanics, noises and acoustics – provide an
Vocoder V is easy. The patches include excellent impressive array of parameters ranging from
loop-based examples (Bright Future and House pickup distance to tonebar resonance. It sounds
Butterfly are particularly good) and some good complex but the results speak for themselves
pads (Ghost In The Cabinet). What’s more, the and we absolutely love the massive range of
100 or so vocal-based presets deliver classic tones these advanced settings can deliver. This
vocoder effects into which you can easily is all demonstrated admirably by the 65 presets.
substitute your own vocal audio should you There are some excellent workhorse options
wish. A great plugin that delivers classic sounds such as Dark Funk Keys and 1972 Latin Fusion.
combined with contemporary functionality. There are also some great phased patches
(Sweet Dual Phased EP 2) and stereo spread
Emulator II V options (Nice Panner). Across all patches
coupling the core instrument with pedal and
E-mu’s Emulator II was hugely popular during amplifier effects means the patches not only
the 1980s both for its sound and its included play well but are polished and production ready.
sample set. Now that we have pristine sampling
at our fingertips, revisiting older sampling
devices to capture their flavour is a great way to

Emulator II V based on E-mu’s Emulator II Oberheim

The OB series synths are well renowned and
slightly quirky 1980s analogue synths. Arturia’s
OB-Xa V was released a few months ago and has
now been updated in line with the latest V
Collection 8. It’s primarily based on Oberheim’s
OB-Xa, however some aspects of other OB
synths are included such as OB-X’s x-mod option
whereby oscillator 2 controls oscillator 1.

As you might expect OB-Xa V has many
further software-only enhancements and

106 / MUSIC PRODUCER’S GUIDE TO SYNTHS

arturia v collection 8 / reviews <

“Features like the Tutorial features such as this for the CZ V instrument help you get to know the lay of the land

Macros may seem In App Tutorials

small, but it creates a Over the years Arturia have features, these provide a great way to
considerably refined the look and learn how these classic synths and
cohesiveness” features of their instruments and when instruments work. If you want to really
you compare some of the early get to grips with things, the Sound
features and one of the most significant is how it examples like the Jupiter 8 with its Design tutorials help you achieve
delivers stereo sounds. The original hardware latest Jup-8 V 4 incarnation the certain sounds, and the interactive
synth had internal tweakers to adjust the pan difference is striking. In-App tutorials process is quick and intuitive. As an
position of each of the eight voices. This is are an enhancement feature that first example, you’ll find three such tutorials
replicated in OB-Xa V’s Pan mode and when appeared in V Collection 7 and these for the CZ V including a rather nice pad
active a small panel with eight pan pots is are now refined in 8. sound (Noisy Pad). This has more than
available just above the lower keys. As an 60 tutorial steps starting with
alternative, Arturia have also added a Stereo Available from the new right hand oscillator choice and finishing with the
mode. This duplicates the oscillators into two side panel, tutorials are divided into effects section. Alas, not all
parallel paths and has an accompanying Learn The Instrument and Sound instruments include Sound Design
settings panel just above the mod wheel. Design categories and once launched tutorials and this is certainly something
Parameters include relative oscillator tuning, provide walkthrough-style text we’d expect to see in future updates.
left/right filter variation and LFO phase offset. instruction in the panel below. As you
There’s also an additional LFO that modulates work through, the pertinent aspects of That said, the overall execution is
the stereo position of each channel. To round the interface are highlighted and great and it really is a more enjoyable
things off, both options then go through the whether you’re just after a quick learning experience than trawling
stereo Spread control so you can tailor the final overview or explanation of deeper through the manual.
stereo width. Overall these stereo settings can
be anything from subtle to transformative and Verdict Alternatively
the Stereo mode in particular allows you to
create impressive stereo width at source. For Considerable cost saving over UVI Vintage Vault 3
buying individual instruments €599
Further additional features include a Vocoder V is one of the best vocoders With 65 instruments and over
syncable LFO with a choice of shapes and key we’ve used 10,000 presets, UVI’s sample-based
retrigger, an arp, individual level controls for the Excellent new and updated package delivers an incredible
two oscs and noise generator, and a pop-up Roland synths selection of classic sounds
chord memory window. Meanwhile the Very useful and informative
Advanced panel plays host to three effects In-App tutorials Native Instruments Komplete 13
modules and four function generators with Extensive software-only enhancements £499
user-definable curves with up to 16 breakpoints. Great new macro feature This ever-expanding bundle
and implementation covers more ground and is
The original Oberheim OBs are rich-sounding always worth checking out
polysynths capable of delivering aggressive bite Against Choice can be overwhelming
that will cut through and OB-Xa V really delivers
this. From punchy basses (Weight Squares) and It’s certainly not a cheap bundle and can be
earthshattering subs (Big Sub) to oodles of a bit daunting, but the latest incarnation of
80s-style ‘brass’ sounds, the presets cover a lot this classic package offers so much that it’s
of ground. The more contemporary sounds impossible to ignore
stand out (DNB Chord Lead for example) though
we also like the many super rich pads (C-3 Slow 10/10
Strings) and textures (Moving Drone). There are
also plenty of edgy – though not spiky – leads
(Hard Lead), thick plucky sounds (Take Turn 19)
and some cool chord memory patches (Chord
Repeater). Finally, it’s great that the presets are
not bathed in effects when you load them, and
also that if you do wind up an effects mix, the
effect has been chosen to work with that patch.

It can be tricky assessing the strengths and
weaknesses of a multifaceted bundle like V
Collection. Still, it’s certainly proved itself over
time (although in hindsight the earlier versions
seem basic compared to what’s on offer now).
Overall, V Collection 8 clearly adds some gems
and we really like Jun-6 V and Vocoder V. It’s also
great to see their Jupiter 8 emulation getting a
full on rework. But for us what makes the new
version a success is that the overall user
experience is slicker than before. Features like
the Macros may seem small, but across all
instruments it creates a cohesiveness that
wasn’t there before. This is Arturia’s best
offering yet and as a vintage instruments bundle
with a modern twist, it’s hard to beat.

Web arturia.com

MUSIC PRODUCER’S GUIDE TO SYNTHS / 107

> reviews / softube model 84

Assignable LFO, for The DCOs offer The legendary 106 White Noise, for Beautiful 24dB
PWM, filter and Saw and sub-oscillator, percussive sounds filter, with exacting
pitch modulation Square/Pulse equipped with and more self oscillation
volume fader capability

The beautifully Super-clean
beaten up and chorus
gigged fascia
panel of the
Model 84

Polyphonic Voice modes, for Classic Roland-style The HPF is
portamento time different poly- 4-stage envelope repurposed
operation and huge to a boost/
Unison stacks cut EQ

Softube

Model 84 €159

As another software rebirth of a vintage classic from 1984 arrives,
Softube delves into Greek mythology (via Japan) for inspiration

Back in the 80s, Roland had the good sense Analogue issues aside Fast-forward, then, to 1984, and the third
to do a really smart thing. The late 70s poly- coming of the Juno arrived in the shape of the
synth behemoths, which in many cases required Those earlier Junos sounded rich and deep, in 106. Gone were the wooden end-cheeks,
hair of a similar magnitude, were big, bloated part thanks to the rather noisy chorus circuit, arpeggiator and DCB. In came portamento
and expensive. This provoked a reaction from placed on the backend of the signal. The (glide) and a new protocol called MIDI, in one of
Roland to produce a more affordable polysynth, premise being that with only one oscillator per its first fully-fitted deployments.
in part thanks to the shrinking of electronic voice on board, the chorus would help thicken
components, that made a sensible price point the sound, and so it did! At the time, Roland was going to quite
more obtainable. And so the path was laid for considerable efforts to try and prove that the
the future classics from the Juno Series. “Roland went to huge analogue stylings of the 106 could compete with
With reference to Greek mythology, Juno was efforts to prove that the new great pretender from Yamaha, called
the wife of Jupiter, better known among mere the analogue stylings the DX7. Hence the sound of the 106 was tighter,
synth-mortals as the flagship synthesisers in the of the 106 could sharper and crisper. The argument about which
Roland range. Anyway, Roland created the Juno compete with the DX7” Juno sounds better is one that we’ll save for
6; a six-note polyphonic synth, now recognised another day, but it is nevertheless significant
as a vintage classic. Within a matter of months, that the 106 has its notable fans, for punchy
the Juno 60 appeared. In essence, this was the synth lines and weighty basses, within the
same synth but with added patch memories and commercial and production psyche today. This
a connectivity format called DCB (Digital might explain why Softube have zoned their 24k
Communication Buss) which allowed easy magic on the 106, in much the same way that
connection to Roland sequencers et al. the recently applauded Model 72 provides a
MiniMoog re-born.

108 / MUSIC PRODUCER’S GUIDE TO SYNTHS

softube model 84 / reviews <

“It sounds über cool,
the DCOs presenting
an almost perfect
match to the original
harmonic makeup”

DCO/VCO - boogie with Gaining control Tactility is the
a suitcase! name of the game
One oddity with Softube softsynths is with Softube
The fashionable architecture of the Juno is the lack of stand-alone operation. It’s products
carried forward to the Model 84, through a sometimes quite nice to load up a synth
familiar fascia. With reverence to most second on-screen and get lost in playing, rather relevant MIDI CCs, for a more Juno-istic
hand originals, the paint work appears chipped than getting bogged down with the experience. Of course, this moves
and scratched, with a couple of lumps taken out DAW. However, Softube have made the immediately into focus when hooked in
of the rear edge, presumably where it’s been process of assigning a MIDI CC to a with your DAW, as is Softube’s
slammed up against its ‘virtual’ X-frame plugin fader very easy, so much so, it intention, where the ability to control
keyboard stand. invites the user to get extremely hands all elements in realtime bring the
on with a suitable hardware controller. Model 84 to life. It’s so easy to
It looks really cool and engaging, but more You could also employ one of the many introduce a filter swell or increase
importantly it sounds über cool, with the DCOs assignable MIDI controllers for iPads/ amounts of PWM, as your track builds,
presenting an almost perfect match to the tablets, building a template with the that it could really set apart your
original harmonic makeup. The early Juno synth sound. Let’s face it, this is a Juno 106 in
range used a form of oscillator which was with extended phases too. This isn’t going to plugin form, and the only person who’ll
overtly analogue, but placed under digital impact hugely on usability, and wouldn’t be know that it’s not a real Juno is you!
control. Hence they were known as DCOs (rather noticeable unless placed in direct line against an
than VCOs), producing more reliable tuning original, but it’s worth noting for purity. Alternatively
stability, unlike the synth cousins from some
years earlier. The final output Roland Juno 106
$149 (or as part of Roland Cloud)
As this is a virtual facsimile, Softube have One crucial element of the Juno’s architecture is Truly authentic emulation, with
sought to follow through the 106 thread, with the chorus, which unlike the original is clean, some tasty enhancements
buttons allowing the activation of the effective and displays enormous reverence to
fundamental saw and square waves. There is no the original. For just about all purposes, the Arturia Juno 6v
volume control for either, but there is a fader to Model 84 sounds just like a 106, with all of the €199
control the sub-oscillator volume. This is pretty associated conveniences of a plugin, such as the Close to the original Juno 6, but
essential, as the sub can quickly obscure the ability to easily apply a hardware MIDI CC with added patch capability and
fundamental, while associated with more controller to a pot or fader, allowing simple other modernising enhancements
polyphonic patching. editing within the DAW, either on-the-fly, or
under DAW control. Verdict
Pulse Width Modulation (PWM) is applied to
the square/pulse wave, either through manual Sonically it delivers well, but it does feel like a For Cool-sounding facsimile
control to LFO modulation. The earlier Junos slightly missed opportunity which invites the The GUI is really inviting
also allowed for envelope control of PWM, and return of certain much-missed elements or Great emphasis placed on accuracy
while it’s easy to get dragged along with the enhancements; envelope control of PWM, an The Chorus is nice and clean
attention to 106 detail, that’s one addition that arpeggiator, and while we’re on this thread, EQ Bass boost does the job brilliantly!
would’ve been a welcome reintroduction for the access to a second envelope would have been
Model 84, although Softube have implemented nice too, along with the ability to extend the Against Lacking embellishments
an additional control panel, which springs open voice count beyond six. No standalone version
from the right of the window, allowing PWM
control via velocity and aftertouch. Don’t get us wrong, it’s a great sounding This is a great clone of the original Juno
synth and a huge bargain against a hardware 106, which sounds relatively authentic, but
Filters and Envelopes original, but we’re nearly 40 years on, and extra it’s a shame that enhancements weren’t
bells and whistles would go a long way to incorporated to breathe new life in
The filter, being a 4-pole design, sounds enhancing the DAW-based Juno experience.
incredibly exacting. Softube have even 8/10
recreated the obvious stepping, exaggerated in Web softube.com
self oscillation, which was a recognisable trait
for the 106. The resultant sine sounds incredibly
accurate, compared to the original. Softube
have slightly repurposed the High-pass filter,
changing it by way of description to EQ. It offers
two levels of high pass filtering along with a bass
boost, which is handy when using the Unison
mode, which stacks all six voices for a great bass
texture. It’s also possible to detune these, using
a fader from the ‘spring-out’ control panel.

Juno envelopes were never the strongest
designs on the originals. They were useable
enough, but never the snappiest, and this
transcends to the Model 84. If we’re honest, the
shape and behaviour feels less convincing here,

MUSIC PRODUCER’S GUIDE TO SYNTHS / 109

> reviews / korg collection 3

GUI CONTROLS SCALE & MODE
The miniKORG 700s had an usual Most of the controls are beneath the keyboard, Really just the names
design. See it here in 2 or 3D allowing you to put your sheet music on top! for transpose and
TRAVELER/FILTER oscillator type
What you’ll recognise as
the filter is called PROPHECY EXTRAS
Traveler for high and Just the top two
low frequencies sections of this UI are
LOADS OF SOUNDS from the original synth
Select from 4,000
presets in Triton
Extreme here

TABS MAKE IT EASY
The huge engine of
Triton Extreme is nicely
set out in tabs so you
can select each one

EVEN EASIER EDITOR’S CHOICE
An Easy Mode tab just
reveals the most
important parameters

ALL ON DISPLAY DUAL ACTION RIBBON ALL NEW
You get just a couple of parameters The original touch strip/mod Detail means you can
within each main section to tweak wheel is replicated but might really go to town on
make you miss the hardware your sound

Korg
Collection 3 $399

Korg’s Collection is updated with three classics from three different eras:
the 70s, 90s and 2000s. And it’s now better value than ever…

In this Buyer’s Guide section of The Music Eventually and thankfully – it was a bit significant saving over buying them individually
Producer’s Guide To Synths you will see confusing – the whole lot were put together into (as they are each priced between $99 and $249).
pretty much two types of synth reviewed: those Korg’s Collection version 1, featuring the five So let’s have a look at the latest additions.
based on classic hardware and those at the very synths and effect plus the fantastic ARP Odyssey
cutting edge of sound. Korg’s Collection sits emulation (Korg had produced the ARP 70s and beyond
very much in the former camp with classics hardware by this point). The Triton was added
from Korg – and other companies – repackaged for Collection v2 and now this latest Collection 3, First up, you get one of the earliest Korg
into sleek software form to run as virtual adds a miniKORG-700S, Korg Prophecy and instruments, oft called the company’s first synth,
instruments on any Mac or PC. Triton Extreme. This means you now get 10 the miniKORG-700s. This curious device had
Before we get into the new (old) three synths plus the MDE-X effects for $399, a controls for its 2 x VCO/VCF monophonic engine
additions for this third incarnation of Collection, below the keyboard and to the left, and the
just a quick recap. Collection is actually an “$399 for the bundle software emulation allows you to switch
update to one of the oldest sets of softsynths between a 2D and 2D view to get access to
ever, the Korg Legacy Collection, released back is a significant them. Korg didn’t label their synth controls with
in 2004, then comprising the Korg MS-20, the familiar names we now know them by – this
Polysix and Wavestation. We heaped a 10/10 on saving over buying was early days after all – so you get a Traveler
that in Computer Music, and since then there (sic) controller for the hi- and lo-pass filters and
have been several variations, notably the Digital them individually” Expand for the envelope.
edition (with the Wavestation, the M1 and the
MDE-X effects) and Analog Edition (with the As with all Korg softsynths it uses Korg’s CMT
Polysix, MS-20 and Mono/Poly). (Component Modeling Technology) to
accurately emulate the original synth, with 150
presets covering a wide variety of timbres. You

110 / MUSIC PRODUCER’S GUIDE TO SYNTHS

korg collection 3 / reviews <

“Other sounds bring a
tear to our eye,
wondering where that
quarter of a century
has gone…”

get classic synths leads, plucks and basses with Modern extras include the ability to show miniKORG in 2D; so much more like a modern synth
more modern, programmed pads, motion
sounds and complex arp sounds, many of which 21st century extras
are bolstered with modern flourishes like the
effects (see right). Korg’s CMT standard is really used to make this monster synth easy to deal
full effect here to recreate the sounds with! You get an ‘Easy’ mode that just
Next up we have one of our favourite 90s of the original synths in exacting detail, has the main parameters on screen,
synths, the Korg Prophecy. This arrived as dance but as good as that is, it’s the modern and the (literally) thousands of presets
music was at something of a peak, and offered flourishes and additions that make can be navigated by type or character
not only hands-on, real-time 303 bassy sounds Collection 3 a relevant set of synths for (Bright, Dark, Acoustic, Electric and so
but a whole lot of real instruments, all given life the modern producer. on). The old sequencer has been
and lustre thanks to a unique (for then) touch removed, though – you can do all that
strip modulation bar that allowed you to add a The plugin pedal effects on in your DAW – but the original dual
dose of any controller to any sound. It was a miniKORG, for example, really do add polyphonic arpeggiator is there along
mono synth and quite weird in that it straddled necessary dirt and dynamics, and the with 307 patterns to aid songwriting.
so many sounds and styles, but we loved it. 2D top-down view plus three screen
size options make it a welcome UI for Finally, Prophecy has polyphony and
Here it is recreated in all of its glory, guts and contemporary softsynth users. more on display to allow for more
all. You get to see right inside its MOSS (Multi- scope for experimentation, something
Oscillator Synthesis System) architecture and With Triton Extreme, the modern you can say about all three plugins.
reminisce in those preset sounds. The pros are twists are there for other reasons: to
that you get polyphony and to see much of the
guts of Prophecy on screen, only achieved with arpeggiator, sequencing, sampling, kitchen Alternatively
the original if you surfed down through layers of sink… The Extreme features extra sound packs
menus. This opens up its sound design and that vacuum tube Valve Force circuitry, Arturia V Collection 8
possibilities and if you didn’t know this from something Korg championed at the time to give €599
using the original hardware, you’ll soon realise their synths a more rounded analogue sound. The original synth collection covers
what a flexible beast it was. However, negatives just about every other synth – great
are that the original hardware really did invite Here you literally get all of those sounds and value for what you get
lots of hands-on modulation action – tweaking, features in software but also a clever filter
sliding and bending that modulation strip – and system and tabs to access sounds and features. IK Multimedia Syntronik
unless you have a decent hardware controller, It’s much easier to use than it really should be €299
you won’t easily recreate much of the fun of the given the scope of the original, and top marks to Another set of 17 non Korgs that
original. Still the sounds are spot on, many still the Korg designers for making it work so well. could complete your classic synth
surprisingly relevant and many others bringing collection for decent cash
a tear to our eyes wondering where that quarter Is it a hat-trick?
of a century has gone! Verdict
Overall, then, you really do get a great cross-
Finally we get the Korg Triton Extreme, a section of synth technology in the v3 update, For Good value considering…
2004 synth that Korg describe as ‘the vacuum from the quirky 70s, through to the equally odd Fantastic reproduction of synths
tube-equipped high point’ of the Triton range. but beautifully controllable Prophecy right up to covering four decades
And it’s exactly that. The original featured just the do-it-all and know-it-all Triton. Love the easy side of Extreme
about everything that was ever thrown at the Surprisingly modern sounds from mini
Triton range, a synth that already had just about That’s pretty much all you need synthwise in
anything your could throw into a synth! just the three update synths, then, making this Against Original Prophecy owners will
Launched at the end of the 20th century, it was easily the most significant update to Korg’s miss the hardware touch strip
one of those famous Korg workstations that had Collection, Legacy or otherwise, since launch.
every sound you could think of, effects, And that means the best value too. You can buy The biggest and best update to Korg
the instruments individually, but, honestly, we’d Collection makes it more of a bargain
recommend going for the lot if funds allow, as it bundle and great way to buy classic Korgs
makes so much more financial sense.

Collection 3 is a serious contender for your
cash and offers the best of all eras. Fabulous.

Extra character options in Extreme for sound filtering Web korg.com 9/10

MUSIC PRODUCER’S GUIDE TO SYNTHS / 111

> reviews / rob papen blade 2

Rob Papen

Blade 2 €99

A mere decade after the original Blade, Blade 2 is here and there’s not
a Wesley Snipes in sight. That’ll be because this one’s a synth…

It says a lot about the increasingly long simple drop-down menu allowing you to select Conclusion
history of computer music making that some your controlled destinations with ease.
soft synths have been with us for more years For less than a ton in at least two currencies,
than we realise. Only the other day we were Other new additions include an analogue- Blade 2 offers a huge wealth of sonic options for
discussing how NI’s Massive is 15 years old! (How style oscillator, noise oscillator, an expanded 32 your Earth credits. You could – and very
the winter nights fly by here.) The original Blade filter types, extra effects (Blade 2 has three probably should – spend an age exploring its
is not quite as old, but at over a decade since its multi-effects processors) and a souped up nooks and crannies, unearthing routing and
release, it has done the rounds and helped arpeggiator with more linkage with the X-Y pad. arpeggiation options that will take your sounds
establish its developer, the mighty Rob Papen, to unexpected, and mostly great places. It’s a
as one of the biggest names in this business. So Of course all of these extra features demand vast improvement over v1 – of course it is, after
is v2 worth the wait? a completely redesigned UI, and while Blade 2 is all this time – and will pay back any time you
very obviously related to the original – it’s blue, invest in it many times over.
A Marvel? has the X-Y pad in the middle and various synth
modules scattered around the outside – it’s Web timespace.com, robpapen.com
The truth is that the original does look a little old much sleeker, more gun-metal and the blade
when we load up our original review of it, graphics have shifted from winged slicers to a Alternatively
although we did note that “Rob Papen’s take on more subtle circular affair. It’s more Saw than
additive synthesis has some clever tricks up its Blade, but let’s hope not quite so bloody. Air Music Technology Loom II
sleeve and does the business”. Another first for €99
Papen with Blade was the recordable X-Y pad Blade running Same price, slightly complex
that sat slap bang in the middle of the UI. It looking but lovely additive sound
connected to the synth’s ‘Harmolator’ allowing With Additive Mode plus an extra analogue and
you to change (record and edit) the synth’s noise oscillator, Blade 2 really does deliver a Native Instruments Razor
waveform harmonic content in real time. wide range of sounds and textures. On a very $99
basic level, the extra oscillators add weight, One of the original additive synths,
This concept has been expanded with Blade punch and grit to the Blade sound which might it still packs a punch and with,
2, not least with the addition of an Additive have been a tad lacking in analogue warmth for arguably, a leaner set of controls
mode which lets you mix between four additive some. Indeed these extras shouldn’t be
waveforms using the X-Y pad that really does let understated as they are really the keys to the Verdict
you get deep quickly and very easily. The X-Y extra sonic flexibility that v2 has over the
pad can also control a whole host of other original. Yes, you get additional additives(!) but For Refreshing new update
parameters in Blade 2, an obvious feature you the oscillators complete the set, as it were. With Lots of extra features
might think, but very well implemented with a exploration and time, there’s very little, sound Sonically rich and varied
wise, that Blade 2 can’t conjure up. Fantastic effects
Additive to love Goes as deep as you want, then deeper
doing – experimentation is both encouraged Great value considering the power
At its core, Blade 2, like its predecessor, is an and fun). The slightly confusingly titled
additive synth – albeit one with extra bells Additive Mode – we thought we were already Against The additive options demand
(digital ones) and whistles – which uses sine in Additive Mode – is perhaps best explained some time spent learning
waves of different frequencies to synthesise as an alternate use of the Harmolator in that it
different timbres. Also like Blade, v2’s allows you to mix and match between four Blade 2 is very much a synth for now in
additive heart is the Harmolator, an additive ‘Wave-sets’ (16 partials), altering things like terms of its varied sound and looks, and at
oscillator with 96 partials and general pitch, volume, wave and phase. Honestly it’s this price is worth a punt. Just be prepared
controls for things like Range, Symmetry, one of those synths where words don’t do it to work with it to achieve amazing results
Timbre and Timbre Type to shape the sound justice; you’ll be better off throwing yourself
so you don’t have to get your hands too dirty in there for that ‘oh I get it’ moment. 9/10
(or, really, know too much about what you are

112 / MUSIC PRODUCER’S GUIDE TO SYNTHS

kv331 synthmaster 2 ios / reviews <

KV331 iOS

SynthMaster 2 iOS £10

Bringing their fully-featured flagship synth to iPad/Phone users, is this
breakout version of KV331’s creative powerhouse the master of all?

We’ve long been tinkerers with SynthMaster fluid, and before too long, the sonic magnitude want) is just as fun as it was in SynthMaster One.
One, KV331’s 16-voice semi-modular beauty of SynthMaster 2 is revealed. Across diverse The only issue that got in the way of our
that first appeared in our App Store in 2018. presets such as the retro-vibed cool of FM enjoyment, was making those quick, subtle
While we were dazzled at the high-quality Strings MS, the percussive impacts of BAS rotary tweaks as we performed – often they
wavetables and flexible sound design potential Aluminium or the dirtied up synth-basses like wouldn’t detect that they had been touched,
that this ridiculously underpriced monster the ones provided by the BA Chaos Bass preset, though perhaps this is more a design flaw with
provided, we couldn’t help admit that a truly it’s clear to us that this app can contend with the the iPad (and our sausage-like fingers).
mobile version of the more versatile desktop likes of Arturia’s Pigments and the other big
version of SynthMaster would be a much more boys of synth sound design. It’s clear from our experiments that
appealing prospect. Nevertheless, SynthMaster SynthMaster 2 will be our new go-to for quick
One has remained a reliable go-to for years. The primarily rotary controls are pretty synth-idea generation. Every aspect of the
Now, with the desktop SynthMaster being straightforward, and you’ll be on familiar ground already top-notch experience has been refined
periodically updated and still maintaining its if you’ve used any of the previous iterations of to complete the story as it always was meant to
status as a renowned player in the softsynth SynthMaster. The softsynth’s engine is built be – fully featured and mobile.
hierarchy, KV331 Audio have released the iOS around its dual-layer oscillators, which can be
successor. This time though, this isn’t any kind of set to four different wave-generating Web synthmaster.com
‘lite’ version. SynthMaster 2 sports all the bells approaches. Basic provides single-cycle
and whistles of its desktop parent. waveforms or samples, while Additive allows Alternatively
eight oscillators to be stacked up, resulting in
Synth-pop master some beefy tones, Wavetable mode allows for Audiokit Synth One
more gradual and nuanced waveshape FREE
The main headline here is that KV331 have blending, and Vector mode mixes four A sublime – and free – iOS synth
essentially ported SynthMaster 2.9 – in its oscillators in a 3D, spatial audio-leaning way. with huge sound sculpting scope,
feature-packed entirety – to the iPad. So, what but nowhere near the depth
are its key attributes? Well, first off there’s the Swipe left
robust sound engine, which houses the virtual Waldorf Music Nave
oscillators, modulators and filters. The app’s Next up is a supremely detailed raft of $19.99/£14.00
synth stages are programmable via a slickly modulators and filters which can muddy, detune Waldorf’s wavetable app lets users
re-tooled, cross-platform UI which also supports or hammer your sounds into shape. You can also play in a hybrid wavetable/
the native resolutions of numerous iPad types. view your sound-chain with real-time visual analogue world. A real contender
We’re also given 1000 top tier presets as feedback, giving the user a better grasp of how
standard, designed by such luminaries as sound is being effected – editing in this section Verdict
Ubukata, NatLife and Yuli Yolo – a notable is all the more simple, too. The depth here is
increase on SynthMaster One’s 500. staggering, inviting you to experiment with each For Awesome modulation effects
encoder to see how far you can go. Flexible UI options
Upon installing the app, we dive straight into Perfect for sound design on-the-move
preset land. Navigation through the browser is Playing notes via the keyboard (again, hugely Great value for the price
modifiable depending on the type of layout you

Insert (effects) here Against Steep learning curve
At times hard to control multiple rotaries
Further shaping of your unique sounds two global effect send busses to see how they
is achievable using one of SynthMaster sound across every channel. Brimming with sonic potential,
2’s 12 insert effects, these include Delay, SynthMaster 2 iOS is the solid culmination
Compression, Chorus, Tremolo and the like. The shimmering Chorus effect is of one of the best mobile synths around
Both of its layers have five insert effect slots particularly noteworthy, especially when
each, while you can also harness the power of you’re using Additive mode to build up bigger 8/10
synth-constructs.

MUSIC PRODUCER’S GUIDE TO SYNTHS / 113

> buyer’s guide / the 6 best softsynths of all time

the 6 best…

Softsynths… of all time!

Time to put our heads on the block as we pick the six
best software synths… ever (and still available to buy)

Spectrasonics Omnisphere 2.x XFer Records Serum
£339 $189

If being at the cutting edge of sound design appears on Where every sound designer says that they favour
your list of music production priorities, Omnisphere is an Omnisphere over all other synths, so every dance music
instrument that you simply have to own. Most sound producer says they favour Serum. It has so many incredible
designers – and other producers, for that matter – have component parts – oscillators, wavetable engine, effects,
hailed this as the ultimate in synths. Take whatever audio modulation and much more – that the end result could not
you want, plus a huge amount of great quality supplied fail to be disappointing, and it sounds incredible. The most
material, and mangle it through the best engine in the biz. sonically versatile synth we’ve ever used, and certainly one
If there was a top synth spot, this might well be on it. of the best-sounding.
spectrasonics.net
xferrecords.com
114 / MUSIC PRODUCER’S GUIDE TO SYNTHS
u-he Diva
€179

There are many (many) virtual analogue
synths we could have included in this top 6,
and many of those emulations of hardware
classics. Instead, we’ve included possibly the
greatest virtual analogue synth ever, as it
provides parts of many a classic synth to
become a classic softsynth in its own right!
And Diva means ‘Dinosaur Impersonating
Virtual Analogue’. What more could you ask?
u-he.com

the 6 best softsynths of all time / buyer’s guide <

KV331 Synthmaster 2.x

$99

The multi-award-winning soft-synth-to-end-all-
soft-synths offers pretty much any synthesis
type you can think of (including VA, Additive,
Wavetable, PM, FM, and PWM) yet, incredibly,
a pretty damn easy interface to control
everything. And it sounds incredible. Quite
simply one of the very finest softsynths
money can buy.

kv331audio.com

Native Instruments
Massive
£129

The fact that the original Massive
came out in 2006 (yes, really) and
that it is still popular says it all, really.
With its morphing wavetable engine
it was and still is capable of
producing incredibly dynamic
sounds that have become the
backbone to many a cutting-edge
track. A classic, pure and simple.

native-instruments.com

LennarDigital
Sylenth 1
€167

“Never judge a synth by its presets,”
is probably the way-too-sensible
advice your parents might tell you.
But you can always cockily fire back,
“unless it’s Sylenth 1”. 30 seconds
(maximum) after dialling in the first
and you will be drawn in for hours.
The best 303 sounds, the best
thumping basses, the best tearing
leads and all behind an unassuming,
easy interface.

lennardigital.com

MUSIC PRODUCER’S GUIDE TO SYNTHS / 115

> reviews / gforce software ob-e

ADDITIONAL PARAMETERS VELOCITY AND AFTERTOUCH REAR VIEW
Each SEM has a dedicated LFO Easily add velocity Use the small icon to reveal
and additional third oscillator dynamics and aftertouch to additional parameters for each SEM
multiple parameters

LEVEL AND PAN ZOOM
Set these for each Use this button
individual SEM for a focused
SEMs view of the
Edit the core front and rear
oscillator settings of a single
for each of the selected SEM
eight synth
expander modules MIDI
GLOBAL EDIT SEQUENCER
Choose from Click this icon
Group or Offset to open the
modes to assist sequencer view
with editing
multiple SEMs PLAYBACK MODE PRESETS SEQUENCER EDITOR’S CHOICE
Choose whether each new note Load the default Activate the
starts on the same SEM or preset or open the sequencer with its
moves to the next SEM browser to access main on/off switch
600 factory presets

GForce Software

OB-E £149.99

We love a good vintage synth emulation, but does this latest offering
from GForce honour an Oberheim synth classic? OB one way to find out

Back in the day and before polysynths outputs and pans simultaneously visible. SEMs options. On the lower right is a 49-key keyboard
became a thing, Oberheim upscaled their are also grouped for the Split keyboard mode – and the corner icon switches this to show the
SEM (Synthesizer Expander Module) monosynth Lower (SEMs 1 to 4) and Upper (SEMs 5 to 8). The MIDI Sequencer and Stereo Delay. SEMs also
into a number of multi module designs. The bottom section of the window includes the have more parameters on a Rear Panel view and
most ambitious (EVS-1) used eight SEMs and was preset browser, global controls such as playback can be flipped individually or collectively. A
better known as the 8-Voice. This delivered mode, Portamento, Vibrato and global editing Zoom option places one SEM – front and rear
8-note polyphony where each voice was views – across the whole SEM section. There are
basically a different synth and could therefore “GForce have no further hidden panels, which is great, but the
create rich polytonal sounds. But things moved finally got round interface is quite busy. Thankfully, the window
on and Oberheim developed a synth (the OB-X) to emulating this can be accurately resized to work best with your
that achieved polyphony in a more efficient complex synth – no screen resolution.
fashion. Thankfully software developers (and mean feat”
proud 8-Voice owners) GForce have finally got Sound Generation
round to emulating this complex synth – no
mean feat – and OB-E is now available for Mac Each SEM has two main oscillators (VCO1 and 2)
OS X (AU, VST, AAX, standalone). with either sawtooth or pulse (with adjustable
pulse width) and two ADS envelopes. A third
Nitty Gritty oscillator (VCO3) adds sawtooth, sine or square
wave shapes and can be used for audio (as a sub
OB-E is arranged with all eight SEMs and their oscillator for example) or as another syncable

116 / MUSIC PRODUCER’S GUIDE TO SYNTHS

gforce software ob-e / reviews <

“What we’re
really interested in
is how those
eight SEMs
work together”

LFO using either its wave shape or pink noise. OB-E’s two sequencer modes combine hardware feel with software features
Meanwhile the main syncable LFO (LFO1) has six
shapes (including noise) and adjustable onset Double Feature few ways to input sequence notes,
delay. VCOs 1 and 2 can choose from three including manually and via MIDI. You
hardwired modulators (envelope, LFO1 and OB-E’s MIDI Sequencer is inspired by can also control the sequence starting
VCO3) and these can modulate either pitch or Oberheim’s original add-on eight-step pitch using a DAW MIDI part or drag the
pulse width (if used). Each SEM also has sequencer module (MS-1) and to be true MIDI for the sequence from OB-E back
dedicated controls to assign velocity to up to 11 to the original, OB-E’s SEM 8 Output into your DAW. Further overall
parameters and aftertouch to up to five mode uses the eighth SEM for your sequence options include Swing, Rate,
parameters. For ease of use, target controls are sequence, leaving the remaining SEMs Octave, number of Steps, Start step and
colour coded and it’s good to see plenty of to play live. However, far more Start SEM. Finally, the Rhythm knob
aftertouch assignments in the presets. interesting is All mode, which, if used in selects one of 14 presets (these affect
conjunction with the Cont playback the Velocity and Swing settings). So still
The 12dB/octave filter is based on both setting, activates all eight SEMs in very much a programmable analogue-
GForce’s 8-Voice filter and a modern reissue order, one-SEM-per-sequence step. style sequencer, but one designed to
SEM. In addition to cutoff, resonance and showcase the eight-SEM design. If we
modulation (ENV2, VCO3 and LFO1) you have a Whichever Output mode you use, have one gripe, it’s simply that you
knob to adjust smoothly between low-pass, each sequence step has a dedicated can’t zoom the sequencer window.
notch and high-pass. A further switch selects a Gate and Velocity setting, and there are
dedicated band-pass mode. At the bottom you five overall sequence styles (Modes)
balance the VCO levels into the filter. including a chord option. There are a

Massive patches, but for a quick fix head straight for the Alternatively
600 categorised factory presets. The Alpha
Conjuring some rich fuzziness from one of Patches showcase 30 of the best presets and Arturia SEM V2
OB-E’s SEMs is pretty easy. But what we’re really beyond this, basic folders (Bass and Effects) give €149
interested in is how those eight SEMs work way to type-driven categories (Mono, Poly Pad, Arturia’s SEM-inspired synth
together. To GForce’s credit, OB-E is still very Sequence Poly, Unison Chord and so on). Among includes an 8-voice programmer to
much led by the original 8-note polyphony limit, these, OB-E delivers characterful basses, great help emulate the multi voice sound
but you have a variety of ways to use it. First up, mono leads and honest, straight-up pads.
successive notes can either Reset or move However, we are fundamentally drawn to the big Brainworx bx_oberhausen
through (Continuous) the SEMs, and this ties in track-filling patches, as these are what set OB-E $249
with the chosen playback mode (Mono, Poly or apart from other synths. From the Unison TMT modelling, 32-note polyphony
Legato). So, in Poly mode with Cont selected folders, many patches deliver harmonically rich and a powerful unison mode
each time you play a three-note chord it shifts sounds from the Holdsworth-like Epiphany with deliver great sonic flexibility
three SEMs along. Unison mode, much like the Inversion 01 to the portamento beauty of Ice
original 8-Voice unison, plays all SEMs together Cold From Alex 01. For sheer fatness, Unison Verdict
and on OB-E, one MIDI note puts 24 oscillators at Sync is hard to beat and there are also some
your disposal, so you can build massive chords great splits (Triumphant Unison Split). For Faithful emulation
across the eight SEMs. Finally, Split mode adds All eight SEMs on one screen
an adjustable key split with four SEMs per split. GForce have always developed software Sounds amazing particularly in Unison
versions of the synths they like and, in that Enhanced yet retro-style sequencer
The massive sonic potential could require respect, OB-E is no exception. However, the Resizable window/SEM zoom options
quite a bit of knob twiddling, but thankfully you 8-Voice is itself a truly exceptional synth and Excellent set of 600 factory presets
have many efficiencies including SEM-specific OB-E a particularly good emulation that not only
copy, paste, solo, mute, save and load as well as does justice to the original sound but also Against No PC version as yet
global editing (Group and Offset). All this makes enhances it in ways that are both useful and
OB-E easy to program. sympathetic to the original. We would love to An impressive emulation: sounds awesome
see a PC version, but it’s full marks from us and enhances the original design with
OB-E has dedicated Mono and Poly starter nonetheless. fantastic features and efficiencies

Combine the SEM zoom and the global edit options to Web gforcesoftware.com 10/10
make editing all 8 SEMs quick and clear

MUSIC PRODUCER’S GUIDE TO SYNTHS / 117

> reviews / uvi 8-bit synth

MAIN PAGE SID LAYER PRESET BROWSER
The central hub of control, with Control global settings for SID layer’s Cycle through 375 patches,
an overview of each sound layer selected preset, Volume and Pan organised into category type

EDIT PAGE CHIPS LAYER
Edit the modwheel Control global settings for
settings, plus voice mode, Chips layer’s selected
pitch and stereo width preset, volume and pan
FILTER
MODULATION PAGE Apply filter settings
Control settings for such as envelope,
the step modulator, velocity, depth
and affect the and resonance
LFO waveshapes AMPLITUDE
EFFECTS PAGE Adjust velocity,
Apply a range of colourful attack and
effects, including Phasor, standard
Thorus and Drive ADSR envelope

ARPEGGIATORS PAGE
Build up expressive arps,
with options for Step,
Speed and Gate settings

MASTER VOLUME
Satisfyingly rendered as a classic
arcade machine joystick

UVI

8-Bit Synth €99

Recapturing the endearing charm of classic arcade machines, 8-Bit Synth
may seem gimmicky at first, but a vibrant instrument lurks within

Over the last ten years, we’ve seen a boom in games, arcade machines and early computer- UVI software. These presets have been carefully
media aimed at scratching that 80s nostalgia sounds, 8-Bit Synth provides 30,000 individual sampled, and are ready to serve as the building
itch, from Stranger Things’ infatuation with the samples, and 375 retro-tinged patches, all of blocks of a quirky chip-tune track, or as
era’s cinematic tropes (and a lush synth which are neatly organised into a diverse array flavourful sprinkles to layer over more
soundtrack), Wonder Woman’s recent colourful of categories, including Bass, Leads, Chords, conventional fare.
adventures in 1984 and the trend for the bleeps Composite, Drums, FX, Plucks and Polysynth, all
and bloops of classic, 8-bit video game selectable via the familiar UVI Workstation Though it may seem a niche product, a
soundtracks that pepper EDM and even creep framework which houses this (and, indeed all) cursory skim through some of these presets
their way into mainstream soundtracking. It showcases the variety of sonics on offer, ranging
seems that as long as there are sentimental “The building blocks of from the purposefully nostalgic such as Crispy
memories to conjure, the past will never die. Dream, which provides a rewarding ‘twinkle’
With that in mind, Paris-based UVI has a quirky chip-tune effect, reminiscent of picking up a coin in Super
painstakingly built what, at first glance, appears Mario to the more sound design-oriented DMG
to be the ultimate retro sample library and track… or flavourful Artefacts, which presents a shifting sea of
performance instrument, specifically tailored for processed sound.
8-bit music-makers. First bundled as part of their sprinkles over more
gleefully fun, humungous Toy Suite (2019), the Of course, these presets are highly
8-Bit Synth now stands on its own two feet… conventional fare” tweakable, mainly via the Amplitude and Filter
controls, which are presented as the central
Sid games options on the Main window.

Taking its inspiration largely from vintage video The sound engine running the show here is
actually divided into two. The first layer
harnesses the cherished tone of the three-voice

118 / MUSIC PRODUCER’S GUIDE TO SYNTHS

uvi 8-bit synth / reviews <

“Its visual ethos being
in-keeping with old
school arcade
machines, it’s less work,
more like a game”

SID chip, originally used within the beloved
Commodore 64. The second consists of a
variety of Chip sounds cribbed from machines
like the GameBoy and Mod Machine. These
layers can be blended in a whole range of ways,
leading to some interesting aural creations.

1up With the hard work done, you can focus on the fun of effecting and tweaking your 8-bit excursions

The UI is comfortingly child-like, daubed with Would you like chips with that?
decals that are based on some of those iconic
video game characters. The arcade machine- Formerly the domain of dedicated the 8-bit genre include 8bitpeoples
feel is complemented further by the circular enthusiasts, chiptune music is typically label founder Nullsleep and renowned
page selection buttons that run down the left- made via the use of trackers. Making soundtracker Jake Kaufman (aka Virt).
hand side, culminating in a rendering of a classic 8-bit music was originally a delicate
joystick, which controls the master volume. The procedure, though there are now many 8-Bit Synth presents a way into this
five main control pages are Main, Edit, software trackers to choose from, world previously restricted by the need
Modulation, Effects and Arpeggiator, and it’s on many of which float around the web as to adjust your process to the upside-
the Main view that we can easily select which freeware and, if you’re curious about down approach, demanded by the
layer to activate, edit (via the Amplitude and delving further, you should certainly tracker. UVI have done the hard work
Filter controls) and modify global settings such take for a spin. The most noticeable for you, and provide ready-to-go
as Pan and Volume. difference to a traditional DAW being samples from both computers and
that the track lanes are vertically gaming systems. The plugin’s familiar
The Edit page is where the nuts and bolts of aligned. Shared characteristics among parameters and controls, and of
8-Bit synth can be manipulated. Here, we can multiple trackers are the ability to course, the ability to work with it within
toggle between mono and poly voicing per chip modify samples, notes, effects, a DAW environment, allow your lo-fi
(or both) adjust portamento depth and time, patterns and orders. Notable artists in concoctions to live happily alongside
scale the pitch in octaves and route our all manner of instrumental bedfellows.
controller keyboard modwheel to familiar
parameters such as vibrato, filter and tremolo. All these options are remarkably easy to Alternatively
The Modulation page justifies the inclusion of understand, and with its visual ethos being
‘Synth’ in the product’s name, as it’s here we can in-keeping with old school arcade machines, it AudioThing miniBit
go to town on step modulation, LFO speed, feels less like work, more like a game. The €20
waveshape, sync and mode, as well as deeper, editing of parameters like the amp envelope and Similarly meant for quick-fire
layer-specific, modifications. The Effects page LFO routing are made extraordinarily simple, chiptune sonics, its waveforms
contains EQ settings, as well as Drive, Chorus (or, and arguably child-friendly. In fact, aside from came from classic consoles
UVI’s patented ‘Thorus’, rather), Delay and 8-Bit Synths’ own attributes, it’s also potentially
Reverb amongst others, all of which have a great ‘way-in’ piece of software that could be Plogue Chipsounds
powerful bearing on the resulting shape and feel used to quickly – and enjoyably – demonstrate £86
of the tone. the principles of synthesis to newcomers. Realistically emulating vintage
8-bit sound chips, this is a more
The final page is perhaps where some of the Game over serious synth, but harder to learn
most fun experiments can be undertaken. The
Arpeggiator invites us to build up rolling By taking a fastidious approach to sampling, UVI Verdict
arpeggios, with myriad options for speed, steps have yielded a treasure trove of classic video
and note velocity. This is where we can really game-recalling textures and tones. As we’ve For Meticulously sampled retro sounds
start to bring some of the retro tones to life, previously said, the application of these can Diverse effects, arps and modulation
layering up evolving, bright riffs that scream to vary massively, but during a few hours of initial options to sculpt sounds to taste
be foregrounded in our mixes. experimentation, we amusingly built up our own Dual-layer engine blending
little video game themes, that wouldn’t have Awesomely fun and instantly accessible
The Step Modulator allows for us to breathe some life sounded out of place in a seaside arcade back in
into our sounds, and re-shape our waveforms 1989. If you’re an indie game developer, with a Against Limited long-term appeal
penchant for the retro, then this could prove a
valuable tool. For the rest of us, a satisfying Hard to remember a more enjoyable time
diversion into the quirky realm of 8-bit provides with a plugin. 8-Bit Synth doesn’t just
fun – and nostalgia – by the bucket load, coupled provide aural nostalgia, but heaps of sound
with the potential to build out some truly modifying potential. UVI wins.
original sounds by probing its nuances.
9/10
Web uvi.net

MUSIC PRODUCER’S GUIDE TO SYNTHS / 119

> reviews / arturia pigments 3

PRESET BROWSER UTILITY ENGINE EFFECTS SEQUENCER
Access a multitude of New Utility Engine adds Click to add effects Access controls for arpeggiator
factory presets, and noise, analogue samples, including filter, EQ, and sequencer, with polyrhythms
save your favourites and sub osc compressor, and delay and randomisation
HARMONIC
ENGINE MIDI
Pigments 3 Click here to
features the view and
Harmonic Engine, change MIDI
which includes CC control
additive synthesis assignments
TABS
Click on these
tabs to view the
keyboard,
envelopes, etc

EDITOR’S CHOICE

STANDALONE AND PLUGIN MODULATION COMBINATORS MPE
Pigments runs standalone as Use this panel to configure The Combinate tab now Configure your MPE
seen here, or as a plugin global modulation and has three Combinators parameters here for deeper
macro settings for modulation tasks hardware control response

Arturia

Pigments 3 €99

The Pigments powerhouse gets upgraded to v3, adding more engines,
more waveforms and more effects. Have we reached saturation point?

After 20 years of successfully producing improvements. Pigments 3 installs as Audio inconvenient but not unusual for such a full-
software synths based on classic hardware Unit, VST, or AAX plugins, as well as the featured synth. From left to right, there’s the
products, Arturia released their first unique standalone mode. The review was conducted preset browser, Synth, FX, and Seq tabs, a Tips
synth, Pigments, in 2018 – and now we have with a 2019 iMac running macOS Big Sur, icon, and Master Volume. Below that, there are
Pigments 3. Pigments is a synth instrument that Ableton Live 11, and assorted MIDI keyboards the tabs for three Engines – 1, 2, and Utility,
works as a standalone application so you can and controllers. followed by a Filter section, then a row of
play live with a keyboard controller, or as a modulation controls, with more tabs – this time
plugin within your favourite host software. All of Pigments’ controls are contained in one toggling views of an on-screen keyboard,
Pigments combines virtual analogue and panel, but some tab-clicking is required – envelopes, LFOs, Functions (three complex
wavetable synthesis, and includes filters, effects, modulation sources), randomisation, and
modulation, sequencing and arpeggiation. “More focused Combinators (another type of modulation
Version 2, released in 2019, added sample-based source that combines two other modulation
and granular synthesis, as well as MPE (MIDI on blatantly sources). Finally at the lower right are four
Polyrhythmic Expression). Macro controls, and a button which enables
Now we’re looking at Pigments 3, which being a synth rather MPE and displays some relevant options.
includes a new Harmonic Engine for additive
synthesis; a Utility Engine, with a sub oscillator, than emulating The extensive preset library tells you
supplemental analogue waveforms, and two everything you need to know about Pigments in
noise sources – so now up to three Engines can real instruments” general – excellent quality sounds, with depth
be layered together. There are also 80+ new and movement, more focused on blatantly
wavetables, and other additions and being a synth rather than emulating real
instruments, and many using the built-in

120 / MUSIC PRODUCER’S GUIDE TO SYNTHS

arturia pigments 3 / reviews <

“Pigments has always
stood apart from
Arturia’s more
‘traditional’ collection of
vintage softsynths”

arpeggiator and Sequencer, which are always Analog(ue) vs digital Arturia’s
good with Arturia. Analog Lab
As far as Arturia’s software synths go
Beyond that, as we’ve reviewed Pigments (they also have a range of hardware virtual classics. Unlike the more
before, let’s focus on what’s new in version 3, synths), they’re primarily about focused synth instruments of the past,
starting with the Utility Engine, which is a third emulating vintage hardware products – synths like Pigments aim to cover as
sound engine in its own right – you can even anything from a Synclavier V, to a Moog much ground as possible, with
turn off the first two, and use Utility on its own, Modular, to a Roland Jupiter 8. The synthesis types including wavetable,
dialling up two different noise forms, and adding Moog Modular V software instrument virtual analogue, granular, and sample-
the oscillator and filters. The noises are based on was designed in collaboration with Dr based. Arturia are offering a discount
a range of samples including machine noises, Bob Moog himself, and has been price for current users of their Analog
digital tones, and natural sounds such as forests supported and maintained with the Lab, which is kind of a ‘greatest hits’ of
and rain. The oscillator presents a choice of necessary updates since it was first their analogue-style offerings – with
waveforms, and each element, noise and released in 2003 – we’ve had it that that, and Pigments, you’re pretty much
oscillator has its own Filter, Mix and Volume long and still use it. covered for synths!
controls (two filters are shared by all Engines).
Being able to stack up three of these Engines Against that background, Pigments Anyway, the point is that
leads to some profound sound design moments, stands out as something unique and philosophically, Pigments is quite
the third Engine enhancing what’s already an unashamedly modern, although different from the analogue offerings,
excellent sounding synth. In the same way, a Arturia have certainly benefited from and it’s so comprehensive, we can’t
third Combinator takes modulation into wild the experience of working with the imagine that Arturia could ever come
new areas. As we said earlier, these are a way of up with a second original synth!
building a modulation source from others, with Pro’s Alchemy. The truth is, we all end up with
assignable behaviours for each, so you might more synths than we know what to do with. Alternatively
take LFO 1 and LFO 2 as sources, then choose Pigments has always stood apart from Arturia’s
how they’ll combine (difference, multiplication, more ‘traditional’ collection of vintage softsynth XFer Serum
and so on). Each Combinator can also use the instruments, and we mean that in the best $189
other two Combinators as a modulation source. possible way. This isn’t a situation where you Ever-popular wavetable synth that
choose one style or another, and for Arturia, includes sample loading and
Four new audio effects have been added, in we’d guess it’s a way of keeping users connected editing in the synth
the form of a rather excellent pitch shift delay, a to them even when they want different, more
multiband compressor, the BL-20 flanger, and modern, sounds – especially as bundle prices Izotope Iris 2
Jun-6 Chorus, derived from Arturia’s V and discounts for current users are available. $149
Collection. We didn’t have an MPE-compatible And why on earth not? Pigments isn’t a token Iris 2 is primarily about sample-
controller available for this review, and it’s not a gesture – it’s a fully functioning, potentially based synthesis, but also includes
new addition to Pigments 3, but we just want to deep, synth in its own right. There’s no need to osc-generated synth waveforms
mention that we used Live 11’s new MPE debate the value of upgrading, as it’s free for
envelopes features to control Pigments, and it anybody who’s using Pigments 1 or 2 already. Verdict
worked very well, with some of Sensel’s free For those who aren’t using Pigments already,
Pigments presets. this could be a good time to jump onboard. For An incredibly powerful modern-
sounding synth
Pigments 3 is up against many other big This is a great-sounding synth that can go Upgrade greatly expands potential
name synths, but really it’s not a competition in very complex in function while still being easy Pigments 3 includes four new effects
that sense; they all have their good points. A list to use, with some fantastic presets, and the Runs as a plugin or standalone
of the usual names could include Serum, control layout is impressively clear and rewards Users can import samples/wavetables
Massive, Iris 2, Hive 2, and Sylenth. And let’s not experimentation. Sometimes we wish we could
forget that most DAW software includes a great see more of the content contained in the various Against Too much to fit the display
synth or two, examples being Ableton Live’s tabs at once, but that’s about it as criticisms go. Almost too much factory content!
Operator, Bitwig Studio’s Phase-4, and Logic Used as a plugin or standalone, Pigments 3 is a
fine addition to any synth library. A great synth and a bargain given the
Now that Ableton Live 11 includes MPE control, it can number of features and sound quality
send those messages direct to Pigments 3, with or Web arturia.com
without a compatible hardware controller Info Free update for current users, discounts 9/10
for other Arturia customers, see the website

MUSIC PRODUCER’S GUIDE TO SYNTHS / 121

> reviews / cherry audio mercury-4

PRESET BROWSER LFO SECTION VCO SECTION NOISE SECTION
Load, save and create Control all low Set the VCO A simple switch that
sound presets frequency oscillator parameters including activates a white noise-
TRIGGER parameters, including pitch range, and type effect
Control the Waveform and Rate frequency modulation
timing of the
arpeggiator ARPEGGIO TAPE ECHO VCF SECTION
and filter Activate the arpeggiator and An in-built reproduction of a Roland Affect the
sample and switch the animation-type here Space Echo-type tape echo sliders that
hold control the high
MASTER TUNE and low-pass
CONTROLS filters
Modify the VCA
overall volume, SECTION -
pitch and tuning Controls the
drift VCA,
essentially an
PERFORMANCE CONTROLS automated
Modify the pitch bend wheel, Volume knob
portamento and master
transposition

Cherry Audio

Mercury-4 £30

The bygone, underappreciated Jupiter-4 hums with life once again,
thanks to this new, intricately modelled software adaptation

Roland’s Jupiter series is often held aloft as visually appealing, with its surrounding wooden presents a largely similar (though significantly
one of the most important synthesiser lines enclosure and tacky push buttons not exactly augmented) version of the original layout of the
of all time. There’s good reason for that, of the most compelling of designs. Its lack of MIDI Jupiter–4. With each of the synthesiser’s key
course, with 1981’s state-of-the-art Jupiter-8 and CV/Gate, not to mention its single VCO-per- control sections arranged in their respective
igniting the potential of keyboard analogue voice architecture, were all further reasons why areas of Trigger, LFO, VCO, Noise, VCF, VCA, and
synths as slick and cool sound-crafters to many this initial Jupiter mission piffled out at launch. Performance Controls.
for the first time. Its kinetic stew of sounds
informed the development of synth pop, new Still, there were those who found much to Comparing it side-by-side with an original
wave and bombastic rock, continuing to be used relish, including The Human League’s Phil Jupiter-4 exterior reveals a few striking
all the way into the dance music decades. With a Oakey, Thomas Dolby and The Cars’ Greg innovations that Cherry Audio have brought to
veritable who’s who of artists pulling futuristic Hawkes. In fact, it is Hawkes’ own Jupiter-4 the table, however. Most obvious is the
sounds from within its tantalisingly colourful which Cherry Audio have carefully modelled incorporation of a Space Echo-eseque tape echo
veneer on Top of the Pops, many Vince Clarke here. The resulting product is Mercury-4, a and reverb simulation into the plugin. Presented
wannabes hankered for this tomorrow-proof complete softsynth recreation of the Jupiter-4. in a suitably green-tinted section to the upper
instrument. While a far more affordable version Now sporting a few added enhancements, we right of the keyboard display, the Space Echo
– the Jupiter-6 – was released shortly after, what wonder if this digital resurrection has super- sim is a sweet addition, with a light application
many didn’t realise was that the Jupiter-line’s charged this maligned machine. of genuinely spatially enhancing pretty much all
arrival was heralded by its clunkier precursor, of the synth’s sounds.
the Jupiter-4. Fantastic four
Released in 1978, this little-loved, diminutive So what of these sounds then? After all, it’s
four-voice, polyphonic synth wasn’t all that Installation is extraordinary simple, and within certainly the unit’s distinct tonal characteristics
minutes we’ve got our AU instance of Mercury-4 that spurred its cult of aficionados. In the top left
loaded into our Logic project. The large GUI we have the preset selector, which handily

122 / MUSIC PRODUCER’S GUIDE TO SYNTHS

cherry audio mercury-4 / reviews <

“It’s plainly
apparent that
there’s a lot more to
Mercury-4 than meets
the eye”

divides over 400 sounds into their respective These simple switches and dials allow you to assign your pitch bend wheel accordingly
categories, including leads, basses, arpeggios
and pads. There’s a distinctly retro flavour to the Does it bend? the same function, albeit more fluidly
vast majority of ready-to-go sounds, particular and in a more performance-ready way.
when cycling and triggering the arps. Those Though it lacked the pitch bend wheel It’s nice to be able to jiggle around
designing quirky video game soundtracks will that its bigger brother, the Jupiter-8 modifiers like this, developing evolving
find a lot to mine from here. Our quick preset would later sport, the original Jupiter-4 textures as modulation is introduced
skim highlights include the spritely, 8-bit- included a small joystick bender and removed musically.
sounding Brush Taps, the arpeggiated Square control on a horizontal axis that
Space and stinging Edgy Arp, and the emotive allowed some rather rigid control of Couple this with the velocity-
Modern Classic bass sound. While many sounds VCO pitch, VCF cutoff, VCA volume or sensitive MPE support and the
have that 70s kitsch quality to them, it’s plainly how much LFO modification is applied Mercury-4 offers a radically different
apparent that there’s a lot more to Mercury-4 to the VCO, VCF or the VCA. experience than the one offered by the
than meets the eye. hardware’s original capabilities.
The Mercury-4 now allows your MIDI
Cherry on top controller’s pitch bend wheel to serve

Mercury-4’s sonics might have something of a the keyboard as opposed to being assigned Alternatively
day-glo veneer, but it’s clear that there’s a lot of manually. While initially confusing, it’s quick to
sound-creating potential here. Lifting the hood get the hang of when you figure out where Roland ProMars
of this software reveals a signal path built these areas are located. The four arpeggio £90
around a modelling of that original oscillator controls allow you to cycle between Up (lowest A smaller variant of the Jupiter-4;
and sub oscillator, while all of the Jupiter-4’s dual to highest notes), Down (the opposite), Up & this official software version has
filter nuances have been captured with peerless Down and Random. similar character to the Mercury-4
detail – these sounds feel like they’re coming out
of a dusty old relic, especially when you add a Mercurial magic Arturia SQ80V
touch of Drift for a little more authentic £145
analogue unpredictability. Whoever you are, you’ll undoubtedly have a Provides an accurate modelling of
blast with Mercury-4; it’s an authentic-sounding the similarly lo-fi and under-loved
Not feeling content with just making an and majorly editable synth that has been Ensoniq SQ-80
exacting remake, Cherry Audio have also replicated with absolute love and respect for its
indulged in a little revisionism. While the original source. Whether it becomes a beneficial Verdict
Jupiter-4 was limited to just eight memory addition to your own tracks is another story,
locations for homemade sound design (saved with its intrepid tones maybe a little too garish For Very thorough reproduction of an
via its ‘Compuphonic’ internal storage) we’re for many sound designers. Either way, at a often overlooked golden age synth
now gifted with infinite scope for preset-saving. double-take-inducing £30, you’d be unwise not High quality sounds given new life
Full 16-voice polyphony over the original’s four to take a tour of Mercury. Fluid and authentic arpeggiator
and – perhaps the most attractive new aspect – Improves on the original’s capabilities
MPE support. Web cherryaudio.com

Controlling these sounds via MPE reveals
new dimensions which would have been
unimaginable back in ’78. Enabling MPE mode
allows you to map an array of parameters to
your MPE device, across the three standard
dimensions of pitch, pressure and timbre. While
there are too many to list here, our VCO
Modulation Amount and Resonance mid-
performance opens up sounds in astounding
new ways.

Another major high-point here is the flawless
arpeggiator, controlled via simple switches and
yielding pulsing runs via a unique method of
implementation. Basically, the octave range is
dependent on where the notes are pressed on

Against Distinct sonic character may
not be for everyone

A lovingly crafted tribute that widens the
aural capabilities of this once-limited synth,
revealing a colourful sonic playground

The GUI is true to the aesthetic of the original Jupiter-4, while adding a few extra goodies 8/10

MUSIC PRODUCER’S GUIDE TO SYNTHS / 123

> buyer’s guide / 17 greatest freeware synths

The 17 greatest freeware
synths of all time!

As we close our Music Producer’s Guide To Synths, it’s
time to go free! Here’s a roundup of the best dozen free
softsynths of all time plus, over the page, the five best
freeware classic synth emulations…

Patchable, tweakable and an incredible sound. Quite possibly the best free synth out there 02 GREEN OAK CRYSTAL
MAC/PC, 32/64-BIT
01 U-HE BAZILLE CM Almost as old as this magazine’s
MAC/PC, 32/64-BIT editor, Green Oak software Crystal has, like
We’d stress that this list is ‘in no particular Synth1 after it, been a mainstay in the freeware
music scene for many a year. And it’s easy to
order’, so this number one does not actually mean ‘the understand why… at least once you look past
best’. But it is a great synth from the Suite those aged looks, as it still sounds very good.
(Computer Music magazine’s suite of free plugins)
which means you can download it now – see page 8 With a relatively simple operation but
onwards. This is a cracker, a patchable modular synth powerful LFO and modulation sections, it’s easy
with a sequencer and enough power to wrestle to get something complex out of Crystal. And
incredible sounds from. not a synth to be pigeonholed particularly, you
u-he.com can also get some pretty varied sounds out of it
too. Crystal has also made a great (but sadly not
124 / MUSIC PRODUCER’S GUIDE TO SYNTHS free) transition to the iOS platform).
greenoak.com

03 MATT TYTEL HELM
PC/MAC/LINUX, 32/64-BIT
Some freeware has been around the
block a few times… and looks like it. Not so Matt
Tytel’s Helm. With the kinds of looks, graphics,
movement and click and drag pointers found on
newer synths, this looks anything but free, but
most certainly is. The synth features a great little
step sequencer, some nice LFO options and
some superb (and easy to use) effects which
help take its sound up a level or two. Great
looker and a great sound.
tytel.org

04 NUSOFTING SINNAH
MAC/PC, 32/64-BIT
Another sleek and up-to-date
interface, Sinnah is a relatively modern piece of
freeware, but has a slightly different take on

“When I look back upon my life, it’s always with a sense
of shame, I’ve always been the one to blame”

17 greatest freeware synths / buyer’s guide <

Not one synth, but hundreds of modules for you to select and assemble yourself 32-bit. Other than that, it’s great! No, the real
reason this makes the cut is that it’s one of the
05 VCV RACK best bombastic dance freebies out there. OK, it
PC/MAC/LINUX, 64-BIT might be dance music from a few years back –
Now this is the synth – actually entire dubstep included – but we all know a few tweaks
can update it. So if your machine’s old, give this
modular system – taking the freeware world by storm. a go, you won’t regret it.
Developed over the last few years, it’s an open source acoustica.com
modular environment, complete with dozens of add-
ons developed by many developers, making it one of 09 STAGECRAFT INFINITY
the most exciting, and complex free systems out there. PC/MAC, 64-BIT
Look out for the features on pages 54, 86 and 98. One of the newer and more unusual
vcvrack.com synths in this roundup, Infinity promises lots of
features that other synths here can’t deliver,
including MPE (Multidimensional Polyphonic
Expression) support for extra expression and a
sample-based synthesis engine that helps it
deliver a wide range of sounds, some acoustic,
some electronic. The only catch is you might
want to increase its library with paid-for
additions, but there’s plenty you can achieve
without doing so.
stagecraftsoftware.com

10 FUTUCRAFT KAIRATUNE
PC/MAC, 32/64-BIT
Kairatune is an out-and-out electronic
music producer’s dream freebie, and ideal for
dance music of all genres. It can cover your
leads, basses, arps, pads and beats and is
“designed for musicians rather than engineers”
so relatively easy to get to grips with. It wears its
heart on its sleeve – and is damned good at what
it does.
futucraft.com/kairatune/

synthesis. It has a single oscillator, albeit one (including reverb and delay) and loads of Synth1 is still the number 1 synth. Albeit at number 11…
with five shapes to choose from, and an presets that cover a lot more bases (and, indeed
envelope to tweak. However, a ‘resonant delay basses). We’re pretty sure TAL will be appearing 11 ICHIRO TODA SYNTH1
network’ replaces the expected filter and once in later pages of this feature too, such is their PC/MAC, 32/64-BIT
you start tweaking everything, you realise that girth of quality. No freeware synth roundup would be
the sound is as difficult to categorise as the tal-software.com complete without this mainstay of the free
overall synth architecture. It therefore sits within world, a synth that has propped up many a ‘best
the more unusual box of freeware in our studio, 08 ACOUSTICA NIGHTLIFE of’ list since its release back in the 18th century.
but is all the better for it. PC, 32-BIT Synth1 takes some of its features from the
nusofting.nusofting.com/ One that breaks all of our rules from mighty Nord Lead 2 and while it might look
the off; it doesn’t work on a Mac and is only antiquated, it sounds great, will run in modern
06 SYNAPSE AUDIO DAWs and is still, incredibly, supported by its
DUNE CM TAL – Togu Audio Line – have two decades of experience developers (albeit not in English). Still essential.
PC/MAC/, 32/64-BIT making both paid-for and free plugins. Very nice too daichilab.sakura.ne.jp/index.html

Whether you like it or not, you already own this 12 TYRELL NEXUS 6
synth (unless, that is, you are borrowing this MAC/PC/LINUX, 32/64-BIT
book from a friend, in which case they own it). Amazona and u-he teamed up to
Dune CM comes free with this bookazine (see produce this synth back in 2010 but updates
page 8) but sounds anything but free. With VA have kept it fresh and able to run in up-to-date
and wavetable oscillators plus a comprehensive DAWs. Of course, we chose it initially for the
modulation section, you really can get some name but actually there’s a great synth behind a
varied and pro sounds from it. A cracking synth. great fascia here, similar to a Roland Juno-60,
synapse-audio.com albeit with added extras. 580 presets are easily
enough to demo its power and it’s a worthy
07 TAL NOISE MAKER inclusion in our synth dozen.
PC/MAC, 32/64-BIT u-he.com and amazona.de
Togu Audio Line have been making
great plugins for many years now and were one
of the earliest flagbearers for the freebie. Their
Elek7ro specialised in sharp percussion and
cutting basses and Noise Maker is a new and
improved version of that synth, featuring effects

MUSIC PRODUCER’S GUIDE TO SYNTHS / 125

> buyer’s guide / 17 greatest freeware synths
> Step by step 1. Understanding FM synthesis… for free!

1 Yamaha’s original DX7 was the synth 2 You’ll hear a very dull sine-wave type 3 This signal structure is called an
that brought FM (or Frequency sound because this is the raw, algorithm and on Dexed you can see
Modulation) synthesis to the masses. Only initialised basic patch. FM synths use the algorithm in use in the bottom centre
it didn’t really as it was far too complex to Operators to produce their core sounds of the UI. Dexed comes with several
program, and only the likes of Brian Eno and these use sine waves – hence the premade algorithms that can be selected
ever ‘got it’. Fortunately, it’s much easier to sound – but the idea is that Operators can using the Algorithm dial at the top right of
understand with one of our freeware stars, modulate themselves and each other to this section.
Dexed. First, initialise a sound at the produce complex waves, hence the name
bottom left of the UI. Frequency Modulation.

4 Select Algorithm number 9. The grid 5 To get some sonic action going 6 As Operator 2 is modulating Operator
shows the structure of the Operators, between the Operators, edit each one 1 (and itself) changing 1’s envelope
with the bottom two Operators – in this individually. We’ll start by going up to should also yield results, so play with the
case numbers 1 and 3 – feeding to the Operator 2 and raising its level to 1 o’ clock dials on that, setting them as shown. The
output, while the ones above them are and then the Coarse Tune knob to F=4. resulting sound is like a marimba – a very
modulating them. Here, then, Operator 2 is You’ll hear a slight variation in the sound. typical FM sound. You can see and hear
modulating 1 and itself, while 4 and 5 are For more drama, you need to modulate this in action from the classic video
modulating 3, while 6 is modulating 5. the modulators! Now turn EG levels 2 and available to download from filesilo.co.uk.
3 down, and EG Rate 3 to 1 o’ clock.

Five of the best freeware synth emulations

13. TAL-U-No-62 14. Dexed 15. disco DSP OB-Xd 16. FB-3300 17. Wave 2.2 V6
Simulation
Mac/PC, 32/64-bit (PC) PC/Mac/linux, 32/64-bit Mac/PC, 32/64-bit Mac/PC, 32/64-bit
It seems like merely a page Not so much a direct Unashamedly an emulation of We could have filled this top PC, 32/64-bit
ago that we predicted that emulation of a Yamaha DX7 famous OB-X, OB-Xa and OB-8 five with Full Bucket’s free Getting a bit fed up with all the
TAL might have one or two but about as good an synths, ’ OB-Xd has been plugins, as they are so good, classic analogue recreations
other entries on our top emulator of DX synthesis as around for quite a few years but this is just one out there? Well how about this
Freeware Apps and here they you’ll get for free. This FM but still remains one of the outstanding emulation from final emulation of the PPG
are again with their classic beauty lays all those FM best classic recreations out the German developer. It’s Wave, one of the most leftfield
take on a Juno-60. An original synthesis controls out for you there. There’s a question mark their take on a 1977 Korg synths ever created. This is
Juno synth was used as a and makes the process a lot over whether it’s still free – PS-3300 polyphonic synth PC-only, we’re afraid, but
reference point for the simpler than it should be, as there’s a newer 1.5 update that and has some incredible semi includes a set of presets from
oscillators and filter. Classic our walkthrough above does cost – but we think v1 is modular detail to get original developer Wolfgang
freeware classic synth. demonstrates. still freeware. tweaking with. Palm. PC users will love it.

tal-software.com asb2m10.github.io/dexed/ discodsp.com/obxd/ fullbucket.de hermannseib.com

126 / MUSIC PRODUCER’S GUIDE TO SYNTHS

100 greatest 9 top ipad synths / buyer’s guide <

9 top iPad synths

The best new synths and classic emulations

SIX AMAZING SYNTHS

AUDIOKIT SYNTH ONE BEEP STREET SUNRIZER ICEGEAR INSTRUMENTS LAPLACE
$FREE $9.99 $7.99

AUV3 (COMING)/AB/AL/IAA | 300 PRESETS | HYBRID AUV3, MIDI, IAA, AUDIOBUS 2.0 | 380+ PRESETS | AUV3/ AB/AL/IAA | 24-VOICE | PHYSICAL MODELLING
ANALOGUE/FM 6-VOICE | SEQUENCER 6-20-VOICE | PHRASE SEQUENCER | ARPEGGIATOR
They say “completely free, fully functional, and This VA synth features ‘True SuperSaw sound Laplace employs physical modelling to create
ad-free – the ultimate free iPad music emulation’ – the kind of fat trance lead sounds sounds like strings, plucked instruments and
instrument app”… And we’re not going to made ubiquitous by the Roland JP-8000 and metallic sounds although IceGear suggest, “it is
argue. Synth One is an open source tool to used on many a dance and trance tune. Add in designed not to reproduce real acoustic
develop but is actually one of the best synths flexible effects, modulation and an instruments but to create new synthesizer
out there. A unique tone, brilliantly flexible UI arpeggiator, and this could well be seen as the sounds in different new ways”. Basically, if you
and of course it’s free! No brainer… Massive of mobile in years to come. want something a little different this is it!
audiokitpro.com beepstreet.com icegear.net

SYNTHMASTER ONE MIRACK MOOG ANIMOOG
$FREE $9.99 $19.99

AUV3 | 950 PRESETS | VARIOUS VOICE SETUPS | AUV3/AL/AB/IAA | 500+MODULES | VARIOUS VOICES AUV3/AL | 100SOF PRESETS IN PACKS | VARIED
| MANY SEQ AND OTHER MODULES POLYPHONY | ANISOTROPIC SYNTH ENGINE
ARPEGGIATOR & SEQUENCER If you are interested in modular synths but Animoog is not a standard synth emulator but
KV331 have ported the multi-award-winning hate the idea of all those boxes and leads, this contains the best parts of the classic Moog
Synthmaster – in its feature-packed entirety – could be your future: an entire modular system sound behind new UI sensibilities. It allows you
to the iPad. Brimming with sonic potential, this on your iPad. miRack has 500 modules and will to create sounds with loads of movement and
is a fantastically creative tool for sound design even integrate with hardware Eurorack gear, control them all in real time, all with that Moog
on the move as well as a go-to for quick idea although if you can do it all from an iPad, why quality as its sonic bedrock. It was free at one
generation. One of the most fully-featured iPad would you want to? point but still comes highly recommended.
synth experiences you can have. mifki.com
kv331audio.com

THREE INCREDIBLE SYNTH EMULATIONS

ARTURIA ISEM KORG ODYSSEI MINIMOOG MODEL D
£9.99 $29.99 $14.99

AU/IAA/AB | 500+PRESETS | 4 OR 8-VOICE AB/IAA | 100 PRESETS | 2-VOICE AU3/AB/IAA/AL | 160+ PRESETS | 4-VOICE |
POLYPHONY | ARPEGGIATOR | CLASSIC ANALOGUE ARCHITECTURE
Three absolute classic synths for you now, Odyssei is a faithful recreation of the ARP ARPEGGIATOR
starting with the Oberheim SEM, a much-loved Odyssey made famous by the likes of Last but not least, the best synth of all time and
1974 synth. iSEM sounds magnificent, has loads Ultravox’s Billy Currie. It’s expensive but one of the best iPad apps. The 1970 Moog
of modern twists including effects and chord sounds incredible. You also get effects and Minimoog Model D, gets a fantastic emulation
modes, and is one of the best emulations that optional sounds. Get it and the Moog for the by the company that made it in the first place.
you’ll find on the iPad. iSuperb. most popular synth combo ever! All with added presets, polyphony, the ability to
arturia.com korg.com run it in any iOS DAW and effects.
moogmusic.com

MUSIC PRODUCER’S GUIDE TO SYNTHS / 127

> buyer’s guide / the 6 best future synth classics

the 6 best…

Future classic softsynths

We have six all-time classics on p114. Here are six young
pretenders from recent years vying to steal their crowns

UVI Falcon 2
€349

If you want an easier modular-based system, then
Phase Plant (bottom right) might be a better
option – Falcon 2 delivers a wider scope but the
complexity that comes with that depth. Once
mastered, though, it really delivers the wide-
ranging goods. The learning curve is well worth
the rewards. A stunning sound design and
production platform of infinite potential.
uvi.net

Synapse Audio Dune 3
£139

*Whisper* Dune 2 was already close to classic status, a
favourite with the dance community and right up there with
Serum. Dune 3 was never going to dramatically change the
situation but does enough to seal the classic deal. If we had
to choose a single instrument to cover all our synthesis
needs without making compromises in any of them, Dune 3
would be right up there. Great value too.
synapse-audio.com

Native Instruments
Massive X £179

On the assumption that NI are going to carry on
improving Massive X – and you can’t deny the
effort they have put in so far – there’s no reason
why it won’t become as successful as its dad. Sure
there were issues at launch, but many of these
have been ironed out and it sounds incredible.
Massive X is a fab instrument with real personality,
that can do things no other synth can.
native-instruments.com

128 / MUSIC PRODUCER’S GUIDE TO SYNTHS

the 6 best future synth classics / buyer’s guide <

u-He Hive 2
€149

Like Dune, Hive has become one of the
new breed of softsynths that effortlessly
combines both analogue and wavetable
synthesis into a totally inspirational
package that is as easy to use as it is
capable of delivering great sounds. V2 is
a solid update that makes an already
excellent workhorse synth even more
powerful and flexible than before.

u-he.com

Arturia Pigments

€199

This analogue and wavetable synth
was Arturia’s first non-emulation
and what a cracking debut! With a
beautifully-visualised modulation
process, incredible looks and an
easy workflow this is one of the
loveliest softsynths to use as well as
to hear. Ambitious, expansive and
oozing quality from every pixel,
Pigments easily earns a place at the
top table of synthesis.

arturia.com

Kilohearts
Phase Plant
€169

There’s modular synthesis and
then there’s Kilohearts modular,
essentially bolting things
together from scratch, but
without any of the head-
scratching stuff that goes with
‘proper’ modular. Phase Plant
can be anything you wish, and
very quickly indeed. Up with
the best, capability-wise, but it’s
the flexibility that makes Phase
Plant stand out.
kilohearts.com

MUSIC PRODUCER’S GUIDE TO SYNTHS / 129

TAKE YOUR ARRANGEMENTS
TO THE NEXT LEVEL

We’ve cherry-picked the finest tutorial features from the pages of Computer Music
and Future Music – each guide created specifically for the computer-based
producer – to bring you this compendium of music theory knowledge.

ON SALE

NOW

Ordering is easy. Go online at:
Or get it from selected supermarkets & newsagents

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9000 SYNTHS IN DEPTH WHICH SYNTHS?

HOW TO MAKE YOUR SOFTSYNTHS THE BEST SOFTSYNTHS REVEALED
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