Sound built rather than captured.
The Hammond A-100 is a console tonewheel organ introduced in 1959. It is effectively a self-contained version of the B-3 and C-3, with an internal power amplifier and speakers, and it was built in many chassis styles identified by the last two digits of the model number.
FireworX is a multi-effects processor from the Danish company TC Electronic. It holds distortion, compression, noise and curve generators, ring modulation, vocoding, parametric EQ, tremolo, reverb and delay, and the effects can be routed in a large variety of ways. It won best Hardware Signal Processing Technology at the 1998 TEC Awards, and producers and DJs used it with CD players for live sets.
The Nord Lead 2 was launched by Clavia in 1997, two years after the original Nord Lead. It raised polyphony from four voices to 16 and added a ring modulator, a sine waveform on oscillator 1, filter distortion, four individual outputs, more patch storage and a PCMCIA slot. A refreshed Lead 2X followed in 2003 on the same synthesis engine.
The Virus B is a virtual analog synthesizer from Access Music GmbH of Germany, released in 1999 as the follow-up to the Virus A. It is a desktop (rackable) module without a keyboard, with improved converters and expanded polyphony. It has two filters per voice and a modulation matrix, and a keyboard version was sold as the Virus KB.
The dbx 120XP is an undocumented studio effect that generates subharmonics. Its operation is opaque. Its design yields no known advantages over alternatives. Its utility depends entirely on tolerance for uncertainty.
The Doepfer A-110 Standard VCO is a generator module for modular synthesizers in the A-100 series. It outputs saw, pulse, triangle, and sine waveforms simultaneously. Octave switching and ±1 semitone fine tuning set pitch range. Manual and CV-controlled pulse width modulation are available. A Sync input allows hard-syncing to another VCO. It lacks FM, LFO-range operation, and tuning beyond ±1 semitone.
The Doepfer A-120 is a Eurorack filter module built to replicate the Moog 24dB low pass filter. Five potentiometers control cutoff, resonance, input level, and two CV amplitudes. Three CV inputs allow layered, complex modulation. It delivers Moog-like saturation and character at low cost. It offers no multimode filtering, no self-oscillation feedback control, and no visual indicators for resonance peak or clipping. Use it for warm, resonant, hands-on low-pass filtering in modular systems. Avoid it if you need versatility beyond 24dB low pass.
The Doepfer A-140 ADSR is a basic ADSR envelope generator for the A-100 modular system. It has no published specs. It has no CV inputs. It has no visual indicators. It does one job, simply.
The Ibanez AD9 is a stripped-down analog delay pedal that prioritises warmth and clarity over features. Its compander-based signal path delivers clean repeats up to 300 ms. It has no tone control, no modulation, no tap tempo, and no stereo capability. It suits players who want a dependable, affordable analog echo — not a Swiss Army knife.
The Boss CE-2 Chorus is an all-analog stomp box introduced in the early 1980s. It has two controls: Rate and Depth. It was Boss’s first compact chorus pedal and the first they housed in a stomp box. Production ended in 1990. It runs on 9V battery or transformer. It was made in Japan.
The Boss DC-2 Dimension C is a fixed-preset stereo analog chorus pedal made from 1985 to 1989. It offers five distinct chorus tones — one automatic, four selected by buttons — with no user controls. It reproduces the Roland SDD-320 Dimension D’s spatial effect: thickness, depth and width for a 3D sound. Stereo outputs widen the effect. Built-in noise reduction lowers hiss. It cannot be adjusted mid-performance. It belongs in a rig where consistency matters more than flexibility.
The Ibanez FL9 Flanger is an analog stompbox flanger pedal for guitar. It delivers swooshing phase-based effects via four knobs: Speed, Regen, Width, and Delay Time. It is not true bypass, so it colours the signal even when disengaged. It does not claim to be anything else — no digital emulation, no stereo outputs, no expression input, no presets.
The Roland Juno-2 (Alpha Juno-2) is an 80s hybrid synth: analog filters and voice path, digital control over oscillators, envelopes, LFO, PWM, and chorus. It has 64 factory and 64 user patches, a velocity-sensitive 61-key keyboard, and a single digital wheel for editing. It lacks computer update capability and rack-mounting. Real-time sound switching is slow. It was built for studio use — not live performance.
The Roland MKS-70 is a 1986 2U rack-mount analog synthesizer module. It combines two JX-8P engines for 12-voice polyphony and dual-tone layering. It stores 100 patches, each built from two of 64 tones. Chorus has only off/slow/fast settings. Chase-play enables delayed voice repeats. Front-panel editing is cumbersome and tedious. Full SysEx control and PC editing require firmware v1.08. It has three stereo outputs: one per tone and one mix. It lacks arpeggiator, sequencer and keyboard.
The Boss PH-2 Super Phaser is a discontinued analog guitar stompbox pedal built from 1984 to 2001. It adds a rate knob and two-mode switch to the PH-1 lineage. Mode 1 uses 10-step phasing. Mode 2 uses 12-step phasing. Controls are Rate, Depth, Res, and a 2-way Mode switch. LFO speed ranges from 100 ms to 14 s. Input impedance is 1 Mohm (FET). Residual noise is -80 dBm (IHF-A). Current draw is 20 mA at 9 V DC. Early Incubus used it for its distinctive ‘in-your-face’ phase character—especially in mode 2.
A fixed-function digital floor pedal for guitar. Eight synth-effects deliver octave, fifth and third on demand. No editing. No true bypass. An always-on preamp degrades tone even when off. AC-powered. Stereo out. One treadle. That’s all.
The Boss VB-2 Vibrato is an analog foot pedal that modulates pitch — not volume — for electric guitar and other electronic instruments. It uses depth, rate, and rise time controls, plus a mode switch. It has no MIDI, no rack mounting, and no presets. Its strength is expressive, natural-sounding vibrato. Its weakness is inflexibility and a learning curve. It belongs in the hands of players who value analog immediacy over convenience.
The API 215L is a 500-series filter module with no published technical specifications. It exists only as a hardware component for users already invested in API’s ecosystem. Its utility is narrow: it adds API’s transformer-coupled colour to filtered signals, but offers no modulation, no bypass, and no documented response curve. It is not a synthesiser filter, not a creative sound-design tool, and not usable outside a compatible rack.
The Roland Alpha Juno-1 is a 1986 6-voice analog synth built for techno and rave. It delivers sharp bass and noise, improved MIDI, and chord memory — but sacrifices warmth and hands-on editability.
The Roland Alpha Juno-2 is a 1986 6-voice subtractive synth with velocity and aftertouch, 64 presets, 64 user patches, chord memory, portamento, transpose, and a 24dB analog low-pass filter. It uses membrane buttons and the Alpha Dial for editing. It was built for stage and studio bass and rhythmic work — not for deep, fast sound design.
The AMS RMX16 is a UAD-only reverb plug-in. It requires UA hardware. It costs $349. It arrived in UA Software 1.7. It gives one sound — nothing more.
The Yamaha AN200 is a 2001 compact table-top physical modelling analog synthesizer and sequencer built for live pattern-based dance production and quick sound sketching.
The Elektron Analog Four is a tabletop groove machine with four mono analog synth voices, each with two analog oscillators, a 1-pole analog lowpass ladder filter, and a 2-pole analog multi-mode filter. It includes a 6-track MIDI sequencer and two audio inputs and outputs—but no digital connections.
The Analog Rytm is a true analog drum synth. It gives each voice its own engine, up to six oscillators, and a 16-step sequencer. Its pads are velocity-sensitive but small. It enables radical timbral shifts across voices with minimal changes. It falls short on pad ergonomics, stereo per voice, and external audio input. It belongs in the studio of a sound designer—not a live beatmaker.
The Lovetone Big Cheese is a UK-made, all-analog fuzz pedal for electric guitar. It has four controls: 'Curds' (gain), 'Whey' (volume), a traditional tone knob, and a stepped tone switch with four positions including bypass. It uses 1/4" input/output jacks and a 1/8" 9V power jack. It is not rack-mountable. It produces high-gain, noisy, aggressive fuzz — but can also deliver subtle overdrive. It is expensive and regarded as top-notch.
The Strymon BigSky is a guitar reverb pedal released in 2013. It offers full parameter editing, stores up to 300 presets, and ships with high-quality factory presets. It delivers exceptionally high-quality, easily customisable reverb using both traditional and specific controls. It is regarded as the most complete reverb pedal on the market.
The Cirklon is a hardware sequencer. It outputs MIDI, audio (HP), and optionally CV/Gate. It produces no sound. Its clock accuracy and track synchronisation are exceptional. All data saves to flash memory and survives power failure. It operates in step and real-time modes, organising music into SONGs and SCENES.
The Farfisa Compact Duo MK1 is a portable electronic organ with drawbars and vibrato. It delivers a distinctive, aggressive organ tone. No technical specifications are available. Its design prioritises immediacy over documentation or expandability.
The Yamaha CS-30 is a monophonic analog subtractive synthesizer introduced in 1977. It has two VCOs, two resonant VCFs, two VCAs, three envelopes, a ring modulator, external audio triggering and an 8-step sequencer. It has a 44-key keyboard. It lacks onboard effects, memory and MIDI. It is used by 808 State.
The Yamaha CS-5 is a 1978 monophonic analog synth with one oscillator, a multi-mode 12 dB/Oct filter, and an LFO with sample-and-hold. It has no patch storage, no MIDI, no velocity sensitivity. It is built for immediacy — not recall.
The Yamaha CS-50 is a 4-voice, 49-key, pressure-sensitive synthesizer released in 1977. It visually resembles a scaled-down CS-80, weighs about 100 pounds, and shares the CS-series sound — but with thin chords (one oscillator per voice, 12 dB/oct filters), no user memory, and unstable tuning.
The Yamaha CS-60 is a polyphonic analog synthesizer released in 1977. It is smaller and cheaper than the CS-80. It lacks polyphonic aftertouch.
The Roland D-10 is a 1988 digital synthesizer using LA Synthesis. It has 61 keys and 32-voice polyphony. It is available as both a keyboard and a rack module. Factory sounds are basic and dated. Editing is required to achieve usable tones. It includes built-in sequencing and nine-part multitimbrality. Onboard effects are limited.
The Roland D-110 is a 1988 rackmount sound module — the upgraded rack version of the D-10 and rack counterpart to the D-20. It delivers Linear Arithmetic synthesis, second-generation D-50 style, using tones, partials, and timbres. It has 32-voice polyphony, on-board drum sounds, reverb, internal/external memory, and six individual outputs. It requires external MIDI control. Programming is tricky but yields characteristic LA textures. Its filter resonates but does not self-oscillate. It is a cheaper alternative to the D-50, offering decent acoustic and synthetic sounds — but no keyboard, no sequencer, and no intuitive interface.
The Roland D-20 is a 1988 digital synthesizer using Linear Arithmetic synthesis. It offers 32-voice polyphony, 8-part multitimbrality, a 61-key velocity-sensitive keyboard, an 8-voice sequencer with rhythm track, a built-in arpeggiator, reverb effects, and internal/external memory storage. LAS programming revolves around tones, partials, and timbres—a method that is difficult to learn but capable of unique results when mastered. It was produced from 1988 to 1992.
The Doepfer Dark Time is an analogue sequencer released in 2010. It has no sound module. It controls external gear via CV/Gate, MIDI, and USB. It sequences either 16 steps on one channel or 8 steps across two channels. Real-time knob control covers transposition, note skipping, and playback alternation. Firmware 1.10 resolves bugs present in earlier versions.
The Korg Delta is a 1979 analog semi-polyphonic string machine and synthesizer. It was built as a slimmed-down, budget alternative to the Korg Trident. It splits into two independent sections—Strings and Synth—with dedicated outputs. The String section uses two pitch sliders and tone/ADSR controls. The Synth section uses four pitch sliders, white noise, a multimode 24dB/oct filter, and full ADSR. A joystick provides pitch bend and modulation. It has CV/gate connectivity but no memory, no MIDI, and no presets. Its 'unlimited polyphony' is inaccurate: pressing multiple keys does not apply independent envelopes to each note. It delivers high-quality layered string-and-synth sounds despite limited range. Its build is robust, but its keyboard is fragile and its filter is bland.
The Make Noise DPO is a dual-oscillator Eurorack VCO built for FM synthesis and wavefolding. It produces deep, rich FM-type sounds using its dedicated wavefolder section. Its output is clean and cold—not Moog-style warm. It has no built-in LFO, envelope, or quantizer. It is not a full voice module. It is a precision tool for FM texture generation.
The Yamaha DX200 is a 2001 desktop sequencer built for DJs and musicians who need FM synthesis and sample playback in one tight hardware unit. It runs a simplified 6-operator FM engine compatible with DX7 patches. It adds a real-time 16-step sequencer with four tracks, a resonant multi-mode filter — absent in all classic DX synths — and bundled software editing tools. It does not offer deep FM programming, internal effects, or flexible voice sharing between FM and AWM2 engines.
The Yamaha DX7 II FD Centennial is a 76-key, fully-weighted FM synthesizer released in 1987. It delivers 16-voice polyphony, a built-in sequencer and arpeggiator, and 64 user presets. Its interface is menu-driven and lacks real-time controls. It serves players who prioritise weighted-action playability and integrated sequencing over flexible sound design.
The E-mu Systems E6400 is a hardware sampler built for radical sample transformation — not faithful reproduction. Its strength is in routing: the modulation matrix and modular-style processing blocks (quantize, flipflop, diode, lag) let users rewire signal flow in ways few samplers allowed. Its SCSI support exceeds its 9GB spec — users ran 18GB drives. Its DACs are transparent; its ADCs are not. It includes Z-plane, formant, phaser, flanger, Doppler, bitreducer and Convolver tools — and its reverb uses impulse response sampling. It ships with EOS 3.00b and 1MB CPU RAM. It is for sound designers who treat samples as raw material to be corrupted, rerouted and convolved — not archived.
The Korg Electribe EA-1 is a compact groove machine built for quick, tactile analog sound design and live pattern-based performance.
The Korg Electribe ER-1 is an affordable analogue beat unit. It gives bangs, buzzes, blips and spacey weird noises via four synth keys and four sampled percussion sounds. It saves up to 256 patterns, each up to 4 measures. Real-time changes — like jungle delayed drums or scratching sounds — save instantly. Its PCM sounds (Hclap, HiHat, Crash) are uninteresting. It connects via MIDI in/out/thru. Its housing is plastic.
The Korg Electribe MX EMX-1 is a 2003 desktop dance production instrument built for live electronic music creation. It combines synthesis, sampling, sequencing, and effects in a single unit aimed at performers and producers who work in patterns and loops.
The MXR M126 Flanger/Doubler is a two-space analog rack unit with front-panel 1/4" TRS I/O. It gives players manual, sweep width, sweep speed, mix, and regen knobs plus mode and bypass/invert buttons. It delivers a thick flanging sound and fulfils its synthetic doubling function as advertised. It has no stereo I/O, no expression input, no tap tempo, and no presets. No verified recordings or users are cited. Studio engineers needing fixed, tactile analog flanging or doubling should consider it. Live performers, modular users, and those requiring stereo or foot control should not.
The Shin-ei Fuzz-Wah is a 1968 analog pedal that merges wah and fuzz into one foot-controlled unit. Rocking controls wah. Sliding left-right controls fuzz gain. Two switches activate effects independently. A third switch sets order. A knob adjusts fuzz volume. Powered by 9V battery or adapter. It remained in production, in some form, until 1984. Fender reissued it in 2008.
The Kurzweil K2600 is a 1999 workstation built for deep sound engineering — not quick playing. It uses V.A.S.T. synthesis with 60 DSP functions and 438 presets. It holds 12MB of sample ROM (expandable to 44MB) and 64MB of sampling RAM (expandable to 128MB). Its 32-track sequencer supports pattern, linear, and step recording, plus advanced editing. It processes external signals in real time via ADAT, TDIF, and AES/EBU — with any parameter modulating the input and 20-bit digital output. It falls short on immediacy, tactile control, and workflow clarity. It belongs in a fixed studio, not on stage or in a laptop bag.
The Korg M50 61 is a 2008 sampling workstation built for real-time layering and editing. It delivers 80-voice polyphony, 1077 samples across 608 editable programs, and up to 896 combinations — all controlled via an angled panel and full-size TouchView interface. It includes one GM2-compatible sound bank. It was reviewed as industry-ready but criticised for weak electro/lead sounds and lack of built-in sampler compared to the M3.
The Korg M3 88 is a workstation belonging to the M3 series. It features a dynamic 88-note RH3 keyboard with aftertouch. It supports expansion via an EXB-Radias card to reach nearly 1700 sounds across HD-1, EDS, and optional MMT synthesis. KARMA functions as a highly sophisticated and flexible live arpeggiator. A Kaos Pad is accessible via the touchscreen. The onboard sampler is size-limited despite memory expansion. The instrument is modular: the module can be separated from the keyboard or added to a RADIAS rack. Its six pads are less accurate than those on an MPC.
The Machinedrum SPS-1 gives you four distinct drum synthesis methods—TR emulation, FM, SP1200/Simmons sampling, and acoustic physical modelling—all editable per voice with multimode filtering, distortion, and sample-rate reduction. Its Extended sequencer stores kits and tweaks across complex patterns; Classic mode abandons both. It delivers unmatched hybrid control—but demands patience, not immediacy.
The Oberheim Matrix-1000 is a 1987 rackmount analog synthesizer. It contains 1,000 Matrix 6 patches. Each voice has two DCOs, one low-pass filter, two VCAs, three envelope generators, two LFOs and two ramp generators. Editing requires external MIDI tools. It is optimised for pads, textures and ambient sound design.
The Oberheim Matrix-12 is a 12-voice, 61-key, fully analog synthesizer introduced in 1985. It uses Matrix Modulation for virtual patching. Every control can affect another parameter. It provides 15 LFO types and VCAs per voice. It is more programmable and sonically fatter than the Matrix-6 and Xpander. It is not intended for beginners. It is renowned for thick analog pads, sweeps, buzzes, basses and textures—and was called the 'king of analog sounds' in the mid-eighties.
The Oberheim Matrix-6 is a discontinued analog synthesizer made by Oberheim. No technical details, availability or usage context are given in the source. It exists only as a named category and manufacturer claim.
The Roland MC-09 PhraseLab is a compact sampling sequencer built as a simplified, budget counterpart to the MC-909. It integrates monophonic synthesis, a TB-303–style 2×16-step sequencer, and a 4-track looper/sampler. Its sampler sounds like an 8bit unit and introduces audible crackle when tempo changes. It supports only four independent audio loops. Its monophonic synth produces FAT acid bass and lead tones. It is suited for live phrase capture but limited by low screen clarity, slow sample loading, and constrained user memory.
The Mellotron M4000D Mini is a digital sampling synthesizer released in 2013. It uses a Fatar keybed and delivers 24-voice polyphony. It replaces tape mechanics with sample playback. It offers consistency, portability, and reliability — at the cost of mechanical character.
The Waldorf Microwave XT is a 1998 rackmount synthesizer using digital wavetable and FM synthesis, featuring 44 real-time control knobs, 20-bit DSP functions, and 10-voice polyphony expandable to 30; it shares its engine with the Microwave II and Wave synths, excels at emulating PPG sounds and generating acid or Moog-style bass, and includes onboard arpeggiator, digital effects, and MIDI-transmitting knobs.
The Morphagene is an effects module for modular synthesizers made by Make Noise. It belongs in the 'Effects modules for modular synthesizer' category. It does not function as a sampler, sequencer, or DAW plugin — it transforms audio live using tape-style operations. Its design gives immediate, irreversible, hands-on manipulation. It withholds saving, syncing, and visual feedback.
The Korg MS-50 is a 1978 keyboard-less analog expander module. It has one VCO, two VCFs (highpass and lowpass), two ADSRs, an LFO, pink and white noise, ring modulator, voltmeter, and sample & hold. It uses Hz/V CV/Gate control and was designed to complement the SQ-10 sequencer.
The Roland MSQ-100 is a sequencer with no documented technical specifications. It exists only as a named object with alternate spellings. Nothing is verified about its function, capacity, interface behaviour, or sonic role.
The Buchla Music Easel is an analog synth with no technical specifications. That is all that is verified.
The Boss PN-2 Tremolo/Pan is an analog stomp box released in May 1990 and discontinued in March 1995. It delivers tremolo and stereo panning via rate, depth, and a 4-way mode switch. It needs two amps for panning and runs on 9V DC. It was replaced by the mono TR-2.
The Electro-Harmonix Polychorus Mk2 is a stereo analog stomp-box modulation pedal for guitar. It offers chorus, flanger, double track, and filter matrix modes via toggle switches. It has one input and two outputs. It requires 24V power. It has no preset memory.
The Prophet-10 is two Prophet-5s stacked into one instrument. It delivers ten-voice analog thickness no other 1980 synth matches. But it overheats, detunes, and demands physical and technical concessions. Version 3 fixes stability with CEM chips — at the cost of low-end weight.
The Prophet-600 is a 1982 6-voice analogue synth. It introduced MIDI to commercial instruments. It gives players two oscillators per voice with sync, variable pulse, and triangle/saw waveforms. Its VCF, VCA, and Poly-Mod come from the Prophet-5. It includes an arpeggiator and 2-track sequencer. It glides. It modulates flexibly. It does not track reliably over time. It has no velocity or aftertouch. It is not expandable. It belongs in rooms where history and immediacy matter more than precision.
The Prophet-T8 is an 8-voice analog polysynth released by Sequential Circuits in 1983. It features digital control of analog sound, a 76-key weighted keyboard with velocity and aftertouch, full MIDI implementation, split/layer/double/unison modes, and a real-time sequencer. Its tone resembles the Prophet-5. It was Sequential’s finest analog synthesizer—but faced commercial pressure from the Yamaha DX7.
The Korg PS-3100 is a rare (600 units), 30kg, 48-voice analog synthesizer from 1977. It uses 12 divide-down VCOs to drive 48 independent voice circuits — one VCO, VCF, VCA and EG per key. Its warm LPF and 3-band resonator enable rich formant and phase effects. LFO1 reaches audio rate and delivers AM up to ring modulation. One EG is polyphonic; the other is universal and paraphonic. Twelve intonation scaling controls allow non-equal-tempered tuning. It has no patch memory.
The Korg PS-3200 is the final model in Korg's PS series. It integrates two PS-3100 units into a single chassis. It provides 16 memory locations that can be individually addressed and recalled. It was regarded as remarkable in its era due to having two oscillators per key and 48-note polyphony. Each voltage-controlled oscillator module includes a dedicated voltage-controlled filter and low-frequency oscillator. Its patching and signal routing capabilities were comparatively restricted versus other modular systems. Its envelope generator design was constrained. It was considered sonically rich for its era, and its 16-patch memory was highly valued.
The QMMG is a filter module for modular synthesizers. That is all the sources confirm. It is made by Make Noise. It belongs in the category 'Filter modules for modular synthesizers'. Nothing else is verified.
The Yamaha QY70 is a 16-track MIDI sequencer with AWM2 synthesis, 519 voices, 20 drum kits, and XG editing for ADSR, cutoff, and resonance. It runs two hours on batteries. Its screen is Game Boy–sized. It is portable, self-contained, and limited to MIDI — no audio I/O, no extended runtime, no large interface.
The Lovetone Ring Stinger is an all-analog octave and ring modulator pedal with switchable LFO modulation. It delivers distinctive Hendrix- and Jeff Beck–style tones but requires its manual for calibration and stable power for consistent operation.
Rings is an 'other module for modular synthesizer' made by Mutable Instruments. That is all the source confirms. It is not described as a resonator, a physical modeller, or a filter. It is not assigned a year, format, or synthesis method. Its role is defined solely by its category and manufacturer.
The Yamaha RS7000 is a 2001 groove production workstation. It combines sampling, sequencing, and AWM2 synthesis. It embeds sound and sample edits into patterns. It supports auto-beat slicing, pattern- and linear-based sequencing, and ROM-based sounds only.
The Akai S6000 is a 1999 rack sampler. It supports up to 256 MB RAM, optional SCSI hard drives, virtual hard disk sampling, and remote operation via detachable RS-232 screen. Its 26 filter types and extensive modulation routing enable synthesis from single-cycle waveforms. OS 2.14 resolved major bugs in OS 1.0. It includes a large built-in sound library.
The Schrittmacher is a sequencer made by Manikin Electronic. No technical specifications are available. That is all that is known.
The Roland SH-2 is a monophonic analog synthesizer introduced in 1978. It has two detunable VCOs, a resonant self-oscillating 24dB lowpass filter, one envelope, one LFO, and a 3-octave keyboard. Its one-button-one-function interface is simple and effective. It produces fat, aggressive, authentic vintage analog tones—especially when the oscillators are detuned. It shares sonic traits with the SH-101 but adds detunability and thickness. It is flexible enough for punchy basses, leads and squelchy sounds. Every sound—including drums—has been made on it in at least one documented case. It is simple, programmable, and sonically aligned with Roland’s high-end SH series.
The SH-2000 is a 1973 monophonic analog preset synthesizer. It is Roland’s second synth and a simplified version of the SH-1000. It was built for home organists needing expressive, portable tone colour without synthesis theory.
The Roland SH-5 is a monophonic analog synthesizer introduced in 1976. It has two VCOs, two LFOs, two multi-mode filters, two VCAs, a 5-source mixer, stereo panning, portamento and ring modulation. It is no longer manufactured. No technical specifications are available.
The Roland SH-7 is a 1978 duophonic analog synthesizer built to expand on the SH series with greater flexibility and sonic aggression.
The Technics SL-1100 is an 88-key MIDI controller keyboard built for studio and stage use by performers who need precise, multi-channel keyboard zoning without onboard synthesis.
The Spectralis is a 2004 hybrid instrument built for studio composition. It combines a monophonic Asynth (four digital oscillators, two analog filters, time linearity modulation) with a 32-voice, 3-part multi-timbral Dsynth engine (128 MB RAM, unrestricted sample import). Its sequencer ties both engines and external gear together with per-parameter automation. It has no audio interface, no velocity-sensitive Dsynth layers, and no DAW integration. It belongs in a production room — not on stage.
The Yamaha SPX90 is a 1985 digital multi-effects processor in a 1U rack. It offers discrete or combinable effects — reverb, echo, chorus, flanger, phaser, compression, pitch shifting, distortion, tremolo, and delay — but no concurrent processing. Audio is 12-bit, sampled at 31.25 kHz, with a maximum frequency response of 12 kHz. MIDI supports program recall only, not editing. Front-panel controls are simple and direct. It delivers character, not clarity.
The Novation Super Bass Station is a 1997 monophonic desktop synthesizer built to emulate Roland and Moog bass synths. It adds separate ADSRs for filter and amplitude, key follow, an SH-type sub oscillator, noise generator, ring mod, true mixer, distortion, stereo chorus, panning, two LFOs, arpeggiator with clock out, slide function, and 200-patch memory. It delivers focused, hands-on bass synthesis—but only one note at a time.
The Yamaha TX816 is a 1984 rack-mount FM digital synthesizer system composed of up to eight TF1 modules. Each TF1 is a 16-voice, 6-operator FM engine. Together they provide up to 128 voices and 48 operators, with 8-part multitimbrality. It has independent audio and MIDI I/O per module. It has no built-in stereo mix output. It was designed for live performance requiring portability, high polyphony, and multiple discrete outputs. It is fully compatible with other DX synthesizers and the FM7 software plug-in.
The SPL Stereo Vitalizer MK2 is a hands-on exciter that trades surgical control for immediate sonic uplift — sharpening treble, rounding bass, widening stereo image, and adding air. Its strength is cohesion, not correction.
The Sennheiser Vocoder 2000 is a fully analog, rack-mount vocoder released around 2002. It uses discrete-component circuitry. It includes an internal oscillator with pitch modulation, an internal noise source, and a noise gate. It requires no external sound source. Both white-face and black-face versions share identical analog circuitry.
The EMS Vocoder 5000 is classified as an 'Other Effects Processor'. No technical specifications are available for it.
The Waldorf MicroWave XTk is a 1998 wavetable synthesizer. It has 10-voice polyphony. It uses a 44-key semi-weighted keyboard. It includes a built-in arpeggiator. It is multitimbral.
The Roland XV-5080 is a 2000 rack-mount sound module built for studio composers needing stereo sample playback, deep modulation via Matrix Control, and expandability through SRX and SR-JV80 boards. It reads Akai S1000 and Roland S-700 CD-ROMs via SCSI, supports up to 128MB of sample memory, and includes COSM effects and digital outputs — features the XV-3080 lacks. It offers no keyboard, no sequencer, no USB, and demands physical navigation. It belongs in a fixed studio with legacy hardware — not on a laptop stand.
The Yamaha YC-45D is a 1976–1980 hybrid organ-synthesizer. It combines drawbar organ, transistor organ, piano, harpsichord, distortion and a 3-octave ribbon synth. Its lateral per-note vibrato/bend is unmatched for its time. Its preset system is rudimentary. Its ribbon lacks visual pitch reference. Its emulations are shallow. It belongs in a room where articulation matters more than fidelity.
The Z-DSP is an effects module for modular synthesizers. Tiptop Audio makes it. That is all the source material states.
The Z3000 is a generator module for modular synthesizer. That is all the source states. No specifications. No context. No function described beyond its category. It cannot be evaluated, compared or used meaningfully from the information given.
The Alesis Andromeda A6 is a 16-voice, 16-channel multitimbral analog synthesizer released in 2000. It combines a pure analog audio path with digital control. Its VCOs include pitch correction—a feature missing on older synths. Alesis developed a custom ASIC for it. Axel Hartmann designed it. It is high-end, innovative gear from Alesis, a company known for budget equipment. Alesis developed studio equipment during the 1990s.
The ARP Avatar was a 1977 guitar-controlled synthesizer module. It copied the ARP Odyssey’s synthesis architecture but removed the keyboard and added a 6-way fuzzbox. It required a hexaphonic pickup and pitch-to-voltage conversion. It failed commercially. Sales totalled $1 million over two years against $4 million spent on R&D and production. It contributed to ARP Instruments’ bankruptcy in 1981.
The Yamaha CS-15 is a monophonic analog synthesizer produced by Yamaha from 1979 to 1982. It features two voltage-controlled oscillators, two 12 dB/Oct multi-mode voltage-controlled filters (low-pass, high-pass or band-pass), two ADSR envelopes and a low-frequency oscillator. It also features white noise and an external-in for processing other sounds. The CS-15 offers great flexibility with various routing possibilities to the filters and envelopes. You can, for example, route VCO 1 to both VCFs and the VCFs to any of the envelopes positive or negative voltage. It's actually a duophonic / bitimbral synthesizer but you have to connect it to two separate CV/Gate controls (Hz/V like Korg synthesizers not V/Oct) to play the extra voice. In the CS series, the CS-5, CS-10, CS-30 and CS-30L were similar in sound, structure and design. The CS-5 and CS-10 had a single oscillator and one multimode filter, whereas the CS-15, CS-30 and CS-30L each had two oscillators that could be routed in various ways through two multimode filters.
The Korg DDD-5 is documented only by two PDF files: a 3.3 MB owner’s manual and a 466.4 KB pattern chart, both published on 22 November 2017 and requiring Adobe Reader. Neither contains technical specifications, sonic description, interface details, or operational guidance. No use case, user, or creative output is stated. It is a product defined entirely by its licensing constraints and file formats — not by what it does.
The MXR Distortion + is a 1974 distortion pedal using a single op-amp and germanium diodes. It has Output and Distortion controls only. Increasing Distortion raises both clipping and treble. It was one of MXR’s earliest original pedals, released shortly after the Phase 90. It later appeared in the Series 2000 line in 1982.
The Line 6 DL4 is a 1999 digital delay pedal. It models 16 vintage delays. It has a 14-second looper. It is one of the first digital modeling effects units.
The Doepfer A-100 is an analog modular synthesizer system introduced in 1995. It uses 3U-height, 2HP-width modules patched with 3.5 mm leads. It established the Eurorack standard adopted by many manufacturers. It enables emulation of the Trautonium and Theremin using specific modules.
The Yamaha DX100 is a 1986 FM synthesiser with 49 mini-keys, eight-voice polyphony, four operators per voice, eight algorithms, 192 presets, 24 RAM-storable user sounds, cassette-based patch storage, and the YM2164 chip. It was the cheapest user-programmable FM synthesiser of the 1980s.
Eurorack is a modular synthesizer format introduced in 1995 by Doepfer Musikelektronik. It defines mechanical, electrical and interconnection standards so modules from different makers fit the same cases and communicate reliably. It has no built-in keyboard, sequencer or interface. It demands manual patching and physical organisation. It supports deep signal routing and long-term system expansion. It is used by musicians and designers to build custom synthesis environments.
The Roland JX-10 is a 12-voice analog keyboard synthesizer introduced in 1986. It combines two independent 6-voice Tone Modules for layering and splitting. Its 76-note velocity-sensitive keyboard includes aftertouch. Internal memory holds 64 patches, each configurable as one 12-voice tone or two 6-voice tones. Original firmware lacks SysEx for Tone or Patch data—but updating it restores that capability. PWM was omitted despite existing hardware resources. Its architecture differs sonically from the JX-8P due to distinct chorus and amplifier sections.
The Roland JX-3P is a six-note polyphonic synthesizer produced by Roland Corporation of Japan from 1983 to 1985. Its name stands for 'Programmable Preset Polyphonic'. It uses two digitally controlled oscillators with sawtooth, 50% and 10% pulse waveforms plus noise. It stores 32 factory and 32 user programs. It features a built-in 128-step polyphonic sequencer synced to external clock pulses — not MIDI clock. Its MIDI implementation supports only note on/off, pitch bend, hold, modulation and program change. The PG-200 programmer enables deeper editing but disables MIDI while connected.
The Roland MKS-80 is an 8-voice, rack-mount, fully analog subtractive synthesizer made from 1984 to 1987. It is the only MKS-series unit with voltage-controlled oscillators—not digitally-controlled ones. Its voice architecture mirrors the Jupiter-6 but adds an HPF, a low boost circuit in the second VCA, and a DC supply current boost. A February 1985 revision introduced updated VCOs, VCAs, and a filter later shared with the JX-8P, JX-10, and MKS-70. Each voice uses two Curtis CEM3340 VCOs. It has no keyboard, no sequencer, and minimal front-panel editing—requiring SysEx tools for deep programming.
The Moog synthesizer is a modular, voltage-controlled analog synthesizer invented by Robert Moog in 1964. It was the first commercial synthesizer and established the analog synthesizer concept through its use of patch-cord-connected modules—including voltage-controlled oscillators, filters, envelope generators, and amplifiers—to implement subtractive synthesis.
The Moog Rogue is a monophonic analog synthesizer introduced in the early 1980s. It has a 32-note keyboard and two VCOs. VCO 2 tunes from a half-step below to an octave above VCO 1. This allows atonal sounds. It includes Sample-and-Hold. Its hard-wired patch system enables varied sounds but offers no full patch programming flexibility. VCF and VCA controls are simple to operate.
The Moog Source is a monophonic analog synthesizer made by Moog Music from 1981 to 1985. It was Moog’s first with patch memory and the only Moog with a membrane keyboard and multihued panel graphics. It stores 16 presets onboard and expands memory via audio cassette. Its 24 dB/octave VCF, two analog ADSRs, LFO and sample-and-hold deliver classic Moog tone — but its interface sacrifices playability for recall.
The Korg MS-10 is a monophonic, 32-key analogue synthesizer released in 1978. It has one VCO (triangle, sawtooth, pulse, white noise), one 12dB/octave low-pass VCF, one LFO with pulse and sloped outputs, and one envelope generator with Hold, Attack, Decay, Sustain, and Release. Its normalized patch points allow flexible modulation without cables — but it offers no second envelope, no polyphony, no effects, and no key transpose.
A monophonic analog synthesizer from 1978. Two VCOs. Two VCFs in series: high-pass then low-pass. Ring modulation on VCO2. Modulation generator with pulse and sloped outputs. Two envelope generators. Noise source. Modulation VCA. External control via frequency-voltage converter and envelope follower. Patch panel enables rerouting of audio and modulation signals.
The Multimoog is a monophonic analog synthesizer built by Moog Music from 1978 to 1981. Derived from the Micromoog, it adds a second circuit board to deliver aftertouch and expanded modulation routing—features missing from the Minimoog. It was intended as a less expensive alternative to that flagship instrument. It does not store patches. It drifts. It demands attention. But it gives aftertouch control over filter, pitch and amplitude in real time—rare in 1978.
The OB-8 gave players twice the programming depth of earlier OB synths—via Page 2—while anchoring Oberheim’s ‘The System’ with the DSX and DMX. It runs on a Z80 CPU, stores 120 patches, and plays eight voices across a 61-note keyboard. It does not hide its age: cassette storage, no effects, and bi-timbral mode cuts voice count in half.
The OSCar is a 1983–1985 subtractive synthesizer with digital oscillators enabling additive synthesis, dual analog filters with independent cutoff, duophonic mode, and a built-in sequencer. Designed by Chris Huggett (electronics) and Anthony Harrison-Griffin (aesthetics and build), around 2000 units were produced.
The Prophet '08 is an eight-voice analog synthesizer released in 2007 by Dave Smith Instruments. It uses analog subtractive synthesis with digitally controlled oscillators, voltage-controlled filter and amplifier, ADSR envelopes, and three playing modes. It was conceived as an affordable eight-voice analog synthesizer.
The Roland RS-202 is a 1976 string synthesizer that uses sawtooth oscillators and frequency division for full polyphony. Its paraphonic architecture routes all notes through one envelope shaper—but assigns per-note articulation to prevent attack re-triggering. Split-keyboard controls allow independent top/bottom sounds. An analog chorus with LFO-modulated delay lines creates ensemble realism. It does not offer true polyphonic envelopes, per-voice filters, or digital memory.
Roland Corporation is a Japanese instrument manufacturer founded in 1972. It pioneered compact synthesizers, programmable drum machines, guitar synths, and early microprocessor sequencers — shaping electronic music through tactile, genre-defining hardware.
The Roland SH-1000 is a compact 1973 synthesizer — the first made in Japan and the first by Roland. It resembles a home organ, with 10 preset voices and a manually editable section. It has no user program memory. Its effects include white noise, portamento, octave transposition, two LFOs and a random note generator. It simulates multiple oscillators using 8 sub-osc keys; a ninth key triggers white or pink noise.
The Roland SH-3A is a monophonic analog synthesizer introduced in 1975. It supports both subtractive and additive synthesis. It includes two LFOs and a unique sample-and-hold section. It was Roland’s first non-preset based synth. It uses a transistor ladder-filter to produce Moog-like sounds.
The Six-Trak is a six-voice analogue synthesizer released by Sequential Circuits in January 1984. It was built as an inexpensive, portable 'scratch-pad' for trying out arrangements.
The ARP String Ensemble is a fixed-architecture string machine. Twelve tone generators feed 49 keys via divide-down. Its triple BBD chorus — driven by two LFOs — defines the sound. No envelopes. No filters. No expression. Just one lush, unchanging texture.
The Roland System-100M is a modular analog synthesizer built in the late 1970s. It delivers independent LFOs, envelopes, and patchbay-enabled feedback—not convenience, not recall, not polyphony.
The Yamaha TG77 is a 1989 rack synth that merges FM and sample-based synthesis with unprecedented routing flexibility—but at the cost of immediacy and tactile control.
The Roland V-Synth is a 2003 polyphonic synthesizer combining multiple oscillator technologies and built-in sampling, featuring arpeggiation, COSM filtering, and expandable vocoder/vocal synthesis via VC-2; the XT variant is a rack-mount module.
The 'List of vocoders' is not an instrument. It is a sparse, unattributed enumeration of models and band counts. It contains no operational detail, no historical context for the devices, and no connection to the Roland Corporation. It is a footnote masquerading as a subject.
The Korg VC-10 is a 1978 analog vocoder with a built-in 32-note keyboard, 20-band analysis and synthesis, and support for both internal and external signal modulation — including voice, guitar, and pitch control inputs — making it a self-contained, polyphonic vocoding instrument.
The Roland VP-330 is a 1979 paraphonic vocoder and string machine. It combines ten-band vocoding, electronic strings, and four synthetic choir sounds using seven shared bandpass filters. Its BBD ensemble effect thickens all three sections. Touring musicians adopted it as a lighter, more robust alternative to the Mellotron — despite its choir and strings being less realistic. It offers no patch memory, no MIDI, and no polyphonic independence.
Braids delivers radical timbral variety in minimal space—but with no internal editing, no tuning stability guarantees, and no analogue circuitry. It is a selector, not a synthesizer.
The Korg DSS-1 is a 1986 polyphonic sampling synthesizer combining sampling, additive synthesis, and hand-drawn waveform creation with an analog signal path. Its 12-bit sampler supports fixed rates from 16–48kHz, yielding up to 16 seconds of recording at the lowest rate. Its synthesis architecture emulates subtractive analog design with dual oscillators, switchable VCF slopes, and an extended ADBSSR envelope.
The Korg DW-8000 is a hybrid digital-analog synthesizer released in 1985. It features eight-note polyphony, a five-octave keyboard with velocity sensitivity and aftertouch, 16 digital waveforms (created via additive synthesis and stored on ROM chips), analog VCF and VCA, digital delay, arpeggiator, auto-bend, and DWGS architecture. Its rack-mounted counterpart is the EX-8000, which omits the arpeggiator.
The E-mu Modular System is an analog modular synthesizer introduced in 1972 by E-mu Systems as a competitor to ARP and Moog modular synthesizers. It featured a microprocessor-controlled polyphonic keyboard and sequencer — claimed by E-mu to be the first of its kind — and allowed sound creation via patch cord routing among user-specified modules. Users could store configurations using 'firm-wire' patches, and the system was capable of producing any popular synthesizer sound of the era, noted for a 'cleaner' sonic character than competitors.
The Waldorf Microwave is a hybrid wavetable-analogue synthesizer whose distinctiveness comes from forcing digital waveforms through characterful analogue filters — not from flexibility, expansion, or modern workflow features.
The Waldorf Microwave II is a dedicated wavetable instrument that delivers sharp, immediate, and spectrally distinct tones. It trades flexibility for focus — offering no filter resonance control, no effects, no velocity-driven modulation. Its strength is in launching sounds that pierce rather than blend.
The Korg MS2000 delivers the MS-10/MS-20 workflow in virtual analog form — with dual timbres, real-time knob control, and mod sequencing — but enforces a strict 4-voice polyphony limit that defines its practical use. It competes directly with the Nord Lead and Roland JP-8000 series. Its physical forms are a 44-key keyboard and a rack module. Connecting both via MIDI yields eight offset voices — not true polyphony expansion.
Plaits is a decisive instrument. It forces choices — bank or trigger, pitch or noise, sweep or strike. It gives no second chances, no presets, no visual confirmation. But within those limits, it delivers sixteen coherent sonic identities in one compact, power-efficient package.
The Korg Prophecy is a monophonic synthesizer released by Korg in 1995. It uses MOSS (Multi Oscillator Synthesis System) to emulate analog synthesis, FM, and physical modelling. It offers five synthesis methods encompassing nine oscillator types: analog, variable phase modulation, brass, reed, and plucked string modelling, noise with comb filtering, and three types of analog-style models — sync, ring modulation, and cross modulation — collectively referred to as 'MOD'. Each oscillator is processed by a linked waveshaper for generating distortion or resonance effects. The signal, combined with outputs from a sub-oscillator and noise generator, and feedback, is then fed through two multi-mode filters, which can be arranged in series, parallel, or split configurations. The Prophecy's modulation options include six multi-stage envelopes and four low-frequency oscillators (LFOs) with a selection of 30 types. The keyboard features velocity sensitivity and aftertouch and is complemented by three physical wheels dedicated to pitch bending, modulation, and the Wheel 3, a cylindrical control that combines a modulation wheel with a pressure- and position-responsive ribbon controller. It is equipped with five programmable Performance Editors (PE) knobs, each of which can control up to four parameters simultaneously, enabling precise manipulation of aspects like filter cutoff frequencies, envelope attack times, filter resonance, and stereo panning with a single turn. KORG was the first company to feature effects on a synthesizer, and the first to use a sample + synthesis sound design.
The Korg PS-3300 is a 1977 polyphonic analog synthesizer built from three PS-3100-derived units (PSU-3301), delivering 144 voices with independent oscillators, filters, envelopes, and amplifiers per note. It enables multitimbral sound creation through individual module adjustment and mixing. It omits the PS-3100's ensemble effect. It supports extensive voltage control and patching — including pitch modulation from envelopes or external sources — and uses a detachable keyboard format. It belongs to Korg’s 1970s line of large, expensive, patchable instruments, positioned as a high-end professional device.
René is a 34hp Eurorack module that functions as a three-channel, three-dimensional Cartesian sequencer, enabling real-time, performative programming and delivering maximal musical variation from minimal analog input; it stores up to 64 complete STATEs and features simultaneous Snake and Cartesian patterns, visual feedback via illuminated knobs and touch buttons, and Select Bus integration with TEMPI.
The SQ-80 is a digital/analog synthesizer introduced in 1987 and manufactured until 1989. It features Polypressure Keyboard technology, 43 additional waveforms (including five drumkits), an enhanced sequencer, a floppy disk drive, MIDI in/out/thru, and the 2nd Release reverb simulation. Its OS was later back-ported to the ESQ-1. It was promoted professionally alongside the EPS sampler, including in a limited-edition CD with the Dixie Dregs.
The Novation Supernova is a 1998 3U virtual analogue rack synth with 16+ note polyphony and multitimbral operation. It models subtractive synthesis digitally and includes a resonant self-oscillating filter. Its defining strength is a 7-effect-per-part engine retained per part in multitimbral use, with no polyphony loss. It lacks triangle and sine wave oscillators — requiring their derivation via a hardness attenuator. No other details about sound character, interface layout, modulation matrix, LFO count, or physical controls are verified.
The Korg Trinity is a 1995 music workstation. It was Korg's first modern workstation. It introduced a large touchscreen for advanced control and editing functions. It became the flagship successor to the M1. It introduced resonant filters to Korg's workstation line. It offered built-in digital audio recording, 32-note polyphony, an extensive internal sound library, and assignable effects.
The Korg 01/W is a 1991 workstation that expands on the M1 with more polyphony, more memory, and Waveshaping—but does not deepen synthesis control. It delivers reliability and scale, not flexibility.
The Yamaha AN1x is a 1997 virtual analog synthesizer using DSP-based modelling of analog subtractive synthesis components. It features duo-timbral architecture with two programmable Scenes per voice, parameter interpolation via morphing, and a maximum polyphony of ten notes—dependent on playing mode. Its synthesis engine includes dual oscillators, multimode resonant filtering, extensive modulation routing, and real-time control via assignable knobs and ribbon controller.
The ARP 2500 is a monophonic or duophonic analog modular synthesizer introduced in 1970 as the first product of ARP Instruments. It used matrix switches instead of patch cables, enabling a cable-free experience but suffering from dirty connections and crosstalk. Its voltage-controlled oscillators achieved good tuning stability compared to competitors, due to patented exponential converters and a dual core design. The matrix switch scheme allowed any module's output to connect to any other module's input.
ARP Instruments (1970) built analog synthesizers focused on stability, usability, and performance readiness—not abstraction or infinite patchability.
The ARP Omni is a polyphonic analog synthesizer with preset orchestral string voices, a monophonic bass section, and a polyphonic synthesizer section featuring a 24 dB/oct VCF, ADSR envelope, triangle LFO, and waveform enhancement switch. Its string and synth sections used divide-down architecture for full polyphony, and it offered simultaneous, mixable, separately outputted sections — Strings, Synthesizer, and Bass — with onboard chorus phasing applied primarily to the strings.
The ARP Quadra is a 61-key analog synthesizer introduced in 1978. It was built as a paraphonic instrument using pre-existing ARP modules. It features four sound sections (Bass, String, Poly Synth, Lead), limited memory that recalls only on/off states and intervals—not slider positions—and relies on manual real-time adjustment. Its architecture uses divide-down circuits for the string section and shares controls like the hollow wave button across sections. It is not truly polyphonic and includes an arpeggiator specific to the lead section.
The Ensoniq ASR-10 is a 1992 sampling keyboard designed for live performance and self-contained music production. It integrates sampling, synthesis, sequencing, and effects in one unit. It loads samples while playing. It layers up to eight samples per instrument. It modulates them with envelopes, filters, LFOs, and real-time controls. It sequences with 16 tracks at 96 PPQN. It applies up to 62 effects — including vocoder and distortion — and resamples with them. It records to SCSI hard drives or proprietary 3.5-inch floppies. Its SCSI implementation rejects many common drives unless specially flashed. It ships in keyboard, weighted (ASR-88), and rackmount (ASR-10R) versions. It is the third-generation EPS-series sampler. It runs at 16-bit, 29.7619 kHz or 44.1 kHz. It ships with 2MB RAM, expandable to 16MB.
A six-string bass that trades punch for possibility — and never found enough players who needed both.
The Rhodes Chroma is a microprocessor-controlled analog synthesizer originally developed by ARP Instruments, Inc. in 1979–1980 and produced by Rhodes in 1982. It features sixteen-voice polyphony, digitally encoded parameter processing, and software-generated envelopes and LFOs. Its architecture relies on software-based control of analog voice channels, enabling programmable multitimbral synthesis but introducing latency and instability.
A portable transistor organ designed for touring musicians as a lightweight alternative to the Hammond organ.
The ESQ-1 is a hybrid digital-analog workstation that prioritises immediacy and integration over depth or durability.
The Synton Fenix is a rare, handbuilt modular synthesizer from 1997 — 75 units total — designed by Marc Paping and Bert Vermeulen to include only the vintage-analogue features they personally valued, and nothing more.
The Ensoniq Fizmo is a 1998 digital synthesizer using Transwave synthesis, capable of 48-voice polyphony, featuring real-time F-I-Z-M-O knob modulation, multi-segment envelopes, and a focus on evolving pads and arpeggiation — though hampered by hardware and UI limitations.
The FS1R is a rare hybrid: a formant-driven FM module that expanded what FM synthesis could model — but collapsed under its own complexity. It delivered new waveforms, deeper operator mapping, and vocal resonance no DX7 could match. Yet its interface, manual, and lack of tactile feedback made it a lab tool, not a stage instrument. Its legacy lives in Montage — but not its formants.
The Roland JD-990 is a 1993 module-based, PCM sample synthesizer. It expands on the JD-800 with more ROM, multitimbrality, front-panel programming, and expansion support. It generates both vintage-analogue-remnant and modern-digital textures—but only from its fixed 6 MB of PCM waveforms, and only via menu navigation.
The Roland JV-1080 is a sample-based 2U rack sound module with 64-voice polyphony and 16-part multi-timbrality, introduced in 1995.
The Roland JV-2080 is a rack-mount, sample-based MIDI sound module released in early 1997. It supports 768 internal patches and can be stacked up to eight units for 512-voice polyphony.
The Kurzweil K2000 is a digital synthesizer and music workstation introduced in 1991, built around the V.A.S.T. digital signal processing architecture. V.A.S.T. allows users to select different signal paths containing different DSP functions for sound creation and shaping. It includes an extensive modulation system where modulation sources can be assigned to parameters and combined. The instrument was available in keyboard and rack-mountable formats and included 16-bit user sampling.
The Kurzweil K250 was an 88-key, ROM-based sampling keyboard introduced in 1984. It used proprietary 'contoured modelling' compression to store acoustic instrument and oscillator waveform samples. Twelve separate DACs converted the data to analog. CEM 3335 analog envelopes restored dynamics lost in compression. It delivered 12-note polyphony and was the first electronic instrument to faithfully reproduce an acoustic grand piano.
The Roland MC-202 is a monophonic analog synthesizer and music sequencer released by Roland in 1983. It was the first groovebox. Its synth is similar to the TB-303 bass synth and the SH-101 synthesizer, featuring one voltage-controlled oscillator with simultaneous saw and square/pulse-width waveforms. The internal synthesizer features one voltage-controlled oscillator with simultaneous saw, square/pulse-width and sub-octave square waveforms. Additionally there is a 24dB Low Pass filter, an LFO and a single ADSR envelope generator. In terms of circuitry, it is nearly identical to the earlier SH-101 synthesizers but lacks the noise generator, choice of LFO shapes and modulation/pitch bend controls. However, unlike the SH-101, it does include a delay on the LFO. The MC-202 includes a sequencer that can play back two separate sequences simultaneously.
The Roland MC-4 Microcomposer is a 1981 microprocessor-based CV/Gate sequencer with four output channels, programmable via numeric keypad or live monophonic keyboard input, using numeric pitch values (Middle C = 24), step time values, and gate time values; it features volatile memory requiring cassette storage, supports syncing to other MC-4s or Roland gear, and predates MIDI.
A 1998 groovebox that prioritises immediacy over depth. It bundles sequencing, synthesis, and classic Roland drums—but locks you into its architecture.
The Roland MC-909 is a 2002 groovebox built for live pattern performance. It merges ROM-based synthesis, sampling, and 16-track sequencing into one hardware unit. Its strength is immediacy: hands-on control, fast patch loading, and real-time pattern switching. Its limits are hard-coded: buggy OS, shallow sample editing, rigid pattern flow, and no true synthesis — only tone layering from fixed PCM waves. It belongs on stage, not in a modern production chain.
The Micromoog is a monophonic analog synthesizer produced by Moog Music from 1975 to 1979. Designed as a scaled-down, lower-priced alternative to the Minimoog, it was intended for musicians new to synthesis who could not afford the $1,500 Minimoog. Priced at $650–$800, it features a single VCO with variable waveshape from sawtooth to pulse, sub-octave generation one or two octaves below the fundamental, a −24dB per octave low-pass filter with its own envelope generator and VCO frequency modulation capability, a voltage-controlled amplifier with its own envelope generator, and two A(S)R envelope generators with switchable sustain — a design choice that distinguishes it from most budget synths of the era which used a single ADSR. It includes Moog Open System control inputs, an audio input for external signal processing, and uses 0.95V/oct CV scaling. It was designed by Moog engineer Jim Scott in consultation with Tom Rhea, with electronic refinement input from David Luce and Robert Moog.
The miniKORG 700 is Korg’s first monophonic analog synthesizer, released in 1973. Designed for organists, it sits atop an organ with controls facing upward. It features five oscillator waveforms including two pulse-width modulation variants, an envelope with attack and 'singing' (decay/release), a 'sustain' toggle that functions only as release, and a dual-filter 'Traveler' system with a safety constraint preventing silence. Its filters produce vocal-like sounds.
The Mono/Poly is a 1981 analog synthesizer with four VCOs, a 4-pole resonant lowpass filter, dual LFOs, and flexible key assignment modes. It operates either as a monophonic synth using all four oscillators or as a four-voice paraphonic synth. It was the only monophonic synthesizer with an integrated quad-VCO design at launch. Each VCO offers triangle, sawtooth, pulse, and pulse width modulation waveforms. Every VCO can be individually adjusted for octave, volume, and detuning relative to VCO 1, which has Master Tuning. Only the fixed pulse width and the amount of pulse width modulation are shared across all VCOs. The Mono/Poly features a 4-pole resonant lowpass filter with ADSR envelopes modulating both the VCF and VCA. It has two LFOs: one with four waveforms targeting multiple parameters via the modulation wheel, and a second triangle-wave LFO dedicated to pulse width modulation and arpeggiator tempo.
The Moog Sonic Six is a duophonic analog synthesizer introduced in 1972. It was built for portability and education after Bill Waytena acquired R.A. Moog Inc. and rebranded the Sonic V as the Sonic Six. Its folding control panel is unique in Moog’s history. It was widely used for lectures and educational purposes, often by Bob Moog himself. It delivers weak sound compared to the MiniMoog and suffers from reliability issues. Its single contour generator is shared between VCA and VCF, limiting independent envelope shaping. It is worth your time only if you need a portable, self-contained analog synth for live lecture demos or classroom use — not for studio depth, reliability, or sonic authority.
The Oberheim OB-1 is a monophonic analog synthesizer introduced in late 1977. It was the world's first completely programmable synthesizer, offering eight preset memories. It features two VCOs with selectable and continuously-variable waveforms, a switchable 2- or 4-pole VCF, and two ADSR envelopes—one for the filter and one for the VCA. Its design built upon technology from the Polyphonic Synthesizer Programmer.
The QY10 is a fixed-function sketchpad—not a flexible instrument. It trades control for immediacy. It works only in C major. It rescales, but never reveals how. It stores patterns internally, but exports only via MIDI. It is portable, self-contained, and stubbornly simple.
The RM1x is a fixed-architecture groovebox that prioritises fast, style-based arrangement over flexible sound design or real-time control.
The Yamaha SY77 is a 1989 16-voice multitimbral workstation combining AFM (expanded 6-operator FM), AWM2 PCM sampling, and their real-time hybrid RCM. It features a 61-key keyboard with velocity and aftertouch, two modulation wheels, pitch wheel, backlit LCD, floppy drive, expansion slots, on-board effects, and a 16,000-note sequencer. AWM2 waveforms can be used standalone, layered with FM Elements, or — uniquely in the SY/TG series — as modulators for FM operators. Its AFM is a superset of the DX7’s FM, adding waveforms, algorithms, feedback routing, and filter integration.
The Steiner-Parker Synthacon is a monophonic analog synthesizer released in 1975. Its defining feature is Nyle Steiner’s 12dB/octave multimode filter, which self-oscillates and sustains full amplitude at all resonance settings—a deliberate departure from the Minimoog and ARP Odyssey. Several hundred units were made. It has no polyphony, no LFO, no patch memory, and tuning stability is not documented. Its value lies in its singular filter behaviour, not versatility or convenience.
The Elka Synthex is an 8-voice analog keyboard synthesizer produced by Italian music instrument manufacturer Elka from 1981 to 1985.
The EMS Synthi 100 is a large analogue/digital hybrid synthesizer commissioned by Radio Belgrade, designed by David Cockerell and documented in 1971. It developed from a concept of three VCS3 systems but contains analogue modules equivalent to six VCS3s. It features 12 voltage-controlled oscillators and eight voltage-controlled filters. Two monophonic keyboards produce four control voltages and two triggers. Its digital sequencer has three duophonic layers and 256 duophonic note events. Two 60×60 matrices connect modules via patch pins. Keyboard spread adjusts for equal temperament or microtonal tunings up to 61 divisions per semitone.
The Roland System 700 is a professional monophonic modular synthesizer released in 1976 by Roland Corporation.
The Moog Taurus is a foot-operated analog synthesizer introduced in 1975. It uses an organ-style pedal board. It is monophonic, with a single voice generated by two oscillators and one VCA. Taurus I and III offer only a distorted sawtooth wave. Taurus II introduced a pulse wave. All models use a 24dB/octave resonant low-pass filter with key tracking. Early models lack an LFO; Taurus III includes one routable to oscillator pitch or filter frequency.
The Korg Trident is a 1980 subtractive synthesizer with eight-note polyphony, integrating three independent sections — polyphonic, string, and brass — into one keyboard. It allows assignment to two keyboard zones, includes a flanger effect and joystick for pitch and modulation. The 1982 MkII revision added memory, improved stability via better heat-sinking and power supply, and separate ADSR envelopes for filter and VCA — unlike the MkI’s shared envelope. It does not use effects or sample+synthesis, despite KORG pioneering both elsewhere.
The Korg Triton is a 1999 music workstation synthesizer with digital sampling and sequencing. It introduced 62-note polyphony, dual polyphonic arpeggiators, RPPR phrase recording, onboard sampling with expandable RAM, five insert effects per Program, dual filters per oscillator (24dB/octave low-pass or parallel 12dB/octave HP/LP), faster touchscreen response, category search UI, and expanded memory and outputs. It was available in 61-, 76-, and 88-key Classic versions and as a rackmount Triton-Rack with optional ADAT/Word Clock via EXB-DI.
The Roland U-20 is a 1989 PCM-sample keyboard that plays back stored sounds with no filtering. It uses ADSR envelopes and DSP effects like reverb and chorus for limited modification. It supports expansion via the M-256E RAM card and two ROM PCM-card slots. Its lack of filters and impractical aftertouch are documented drawbacks.
The Wasp is a 1978 monosynth defined by its copper-plate keyboard, black-and-yellow casing, internal speaker, and proprietary interconnection. It was EDP’s best-received product but flawed in execution: unreliable live, prone to autonomous triggering, and technologically isolated. Its sound is inseparable from its limitations.
PPG Wave pioneered real-time interpolated wavetable scanning—making timbre itself a sequenced parameter. Its hybrid digital-analog signal path (digital oscillators, analog filters and VCAs) delivered spectral animation impossible on analog synths of the era. But it demands peripheral hardware for editing, sampling, or expressive control—and offers no direct waveform manipulation or polyphonic sequencing. It belongs in a studio built for sound design, not stage performance.
The Roland XP-80 is a 1996 76-key workstation using digital PCM subtractive synthesis, delivering 64-voice polyphony and 16-part multi-timbrality via a semi-weighted keyboard. It merges the JV-1080 engine with the MRC-Pro sequencer for tight internal composition—but offers no aftertouch, limited real-time sound control, and no modern connectivity.
A keyboardless, six-voice analog synthesizer launched in 1984 and discontinued in 1988. Rack-mounted. Uses Matrix Modulation to route digital control to analog VCOs, multi-mode VCF, and two sequential VCAs. Each voice is independently configurable — including FM via VCO-to-VCO modulation — via multi-patch mode.
The Korg Z1 is a 1997 digital synthesizer using physical modelling synthesis with 12-voice polyphony. It extends Korg's MOSS system—first introduced in the 1995 Prophecy—into a polyphonic, multitimbral format, incorporating OASYS-based physical modelling engines, two physically modelled oscillators per voice plus sub-oscillator and noise generator, and performance features including a 61-note keyboard with aftertouch and an XY touchpad.
The ARP 2600 is a foundational analog synthesizer designed for education. Its semimodular architecture, front-panel signal graphics, and duophonic voice count reflect its classroom purpose—not stage use. Its original filter was replaced after a patent dispute. It teaches synthesis more directly than any contemporaneous instrument, but offers no polyphony, no presets, and unstable tuning.
The CR-78 is historically singular: the first microprocessor-based drum machine and the first to allow user-programmable pattern creation. Its analog synthesis yields 14 fixed drum sounds. Its four-note polyphony defines its rhythmic ceiling. It does not offer sound editing, velocity layers, or sample playback. It belongs in rooms where constraint is compositional strategy—not a flaw to be patched.
The Yamaha CS-80 is an analog synthesizer introduced in 1977. It supports true 8-voice polyphony, with two independent synthesizer layers per voice each with its own set of front panel controls. It has a layered keyboard that is both velocity-sensitive and pressure-sensitive, with polyphonic aftertouch and a ribbon controller for polyphonic pitch-bends and glissandos. Production of the instrument ceased in 1980.
The Casio CZ series is a line of low-cost, digitally implemented phase distortion synthesizers introduced by Casio in 1984. They simulate analog filter behaviour without physical filters, using digital phase distortion instead. Each oscillator plays waveforms in series—not parallel—enabling sub-harmonics but restricting waveform pairing. Polyphony drops from eight to four voices when using two oscillators per voice. They were built for amateur musicians, prioritising affordability and portability over expressive control or sonic flexibility.
The Roland D-50 is a 1987 hybrid synthesiser that pairs 47 ROM-based PCM attack samples with subtractive synthesis to create realistic, bright, and instantly usable tones. Its architecture — two tones, each with two partials — delivers clarity and presence but imposes strict limits on timbral complexity and real-time control. It was built for affordability and immediacy, not flexibility or depth.
The Roland JD-800 is a hands-on, sample-based digital synthesizer manufactured between 1991 and 1996. It features many knobs and sliders for patch editing and performance control. Roland's intention was to return to the roots of synthesis. It employs sample-based oscillators and a fully digital signal path. It has 108 built-in sampled waveforms, expandable via PCM cards. A patch consists of up to four tones. In Multi mode it is possible to play five different patches over MIDI, plus a 'special' patch — which assigns different waveforms to the 61 keys for drums and percussion.
The Juno-106 is a six-voice analog synthesizer released by Roland in February 1984. It features digitally controlled oscillators, 128 patch memories (up from the Juno-60’s 56), a performance lever for pitch and modulation, and early MIDI implementation enabling parameter change sequencing.
The Roland Juno-60 is an analog synthesizer introduced in 1982 as a lower-cost, more stable alternative to contemporaries like the Prophet-5 and Jupiter-8. It features digitally controlled oscillators for tuning stability, a single oscillator architecture compensated by a signature chorus effect, patch memory for 54 sounds, an arpeggiator, and performance controls.
The Jupiter-6 delivers focused, hands-on bitimbral control and waveform stacking unavailable on the Jupiter-8 — but locks you into rigid voice splits and omits expressive dimensions like aftertouch.
The Jupiter-8 is an eight-voice polyphonic analog subtractive synthesizer introduced by Roland in early 1981. Each voice features two discrete VCOs with cross-modulation and sync, pulse-width modulation, a non-resonant high-pass filter, a resonant low-pass filter with 2-pole and 4-pole settings, an LFO with variable waveforms and routings, and two envelope generators (one invertible). It includes adjustable polyphonic portamento, a hold function for infinite sustain, an assignable bender for pitch or filter frequency, balanced XLR and unbalanced 1/4" outputs for Upper and Lower presets in Split mode, and a unique polyphonic unison mode where all 16 oscillators stack onto one note and divide down when more keys are pressed. Its arpeggiator syncs externally via DCB or CV. Tuning stability improved from serial #171700 onward.
The Korg M1 is a 1988 sampling-based music workstation with 16-note polyphony, 16-bit PCM sample playback, built-in effects including reverb, delay, chorus, tremolo, EQ, distortion and Leslie simulation, and an eight-track MIDI sequencer. It uses sampled attack transients, loops, sustained waveforms and percussive samples. It was the bestselling synthesizer ever at that time, selling over 250,000 units. None of its features was unique, but their integration was unprecedented.
The Memorymoog is a 6-voice polyphonic analog synthesizer manufactured by Moog Music from 1982 to 1985. It was the first polyphonic Moog to feature dedicated oscillators and filters for each voice. Each voice has three voltage-controlled oscillators with pulse (variable width), saw, and triangle waveforms. Each voice also has its own 24 dB/Octave Low Pass voltage-controlled filter. Moog Music included a discrete implementation of its famed, patented transistor ladder filter. In Mono mode, the Memorymoog functions as a traditional monophonic synthesizer with 1–18 oscillators selectable in unison. A Chord Memory function and an Arpeggiator are included. Audio frequency modulation using Oscillator 3 can produce FM-like timbres.
The Minimoog is an analog keyboard synthesizer introduced by Moog in 1970. It was built as a portable, affordable alternative to modular systems — the first synth sold in retail stores. Its three unsynchronised analog oscillators, unique voltage-controlled filter, and pioneering pitch wheel give it immediate, expressive, monophonic voice — but no chords, no presets, no stability. It made blistering funky bass blurps and spacey whistle leads — not because it was precise, but because it wasn’t.
The Minimoog Voyager is a monophonic analog synthesizer released in 2002. It was modelled after the 1970s Minimoog and intended as its successor. It promised modern features while preserving the original sound quality. Over 14,000 units shipped between 2002 and 2015.
The Nord Lead redefined hands-on synthesis by replacing menus with knobs and analog circuitry with DSPs — all to deliver immediate, expressive control over virtual analog tones.
The OB-X was Oberheim’s first OB-series polyphonic analog subtractive synthesizer. Introduced in June 1979 to compete with the Prophet-5, it replaced modular SEM-based systems with a unified design built around interchangeable voice cards. It offered 4-, 6-, or 8-voice configurations, 32 user-programmable presets, and automated tuning via a Z-80 microprocessor. Its architecture prioritised stability and integration over flexibility or expressivity.
The OB-Xa is a pragmatic evolution: layering and splitting built in, filter envelope replacing cross modulation, Curtis ICs for stability, and Serial Buss for closed-system integration. It delivers thick, reliable polyphony — but sacrifices the OB-X’s discrete-circuit idiosyncrasy and FM flexibility.
The ARP Odyssey is a duophonic analog synthesizer introduced in 1972. It was designed as a portable, performance-oriented alternative to the Moog Minimoog.
The Korg Poly-800 is an 8-voice analog synthesizer released by Korg in 1983. It was the first fully programmable polyphonic synthesizer that sold for less than $1,000. It was designed for portability, featuring battery power and a lightweight design that allowed the user to play with it strapped around their neck. It utilised digitally controlled oscillators (DCOs), and was a paraphonic synth with a single filter shared between its eight voices. Each DCO offers sawtooth and square waveforms, which are mixed together with a white noise generator before being sent to a voltage-controlled filter (VCF). The Poly-800 features 2 polyphony modes: Whole mode offers 8-voice polyphony with one DCO per voice, while Double mode places the DCOs in pairs for a richer sound, albeit at the expense of reducing polyphony to four voices. The VCF is shared across all voices, which means the Poly-800 is technically a paraphonic synth, instead of a polyphonic synth. The filter can be set to either single or multiple trigger modes; in single mode, the envelope is triggered by the first key press and won't re-trigger until all keys are released. Multi mode allows each key press to trigger the filter envelope independently.
The Polymoog is a 1975 Moog keyboard that gives unlimited polyphony through divide-down oscillator architecture — but sacrifices per-voice synthesis, programmability, and filter control entirely.
The Korg Polysix is a 1981 six-voice polyphonic analog synthesizer designed for affordability through single-oscillator-per-voice architecture, compensated by built-in bucket-brigade-based chorus/phaser/ensemble effects — features that were relatively uncommon at launch and contributed to its accessibility and sonic richness.
The Prophet-5 is an analog synthesizer manufactured by Sequential Circuits. It was designed by Dave Smith and John Bowen in 1977. It was the first polyphonic synthesizer with fully programmable memory. Before the Prophet-5, synthesizers required users to adjust controls to change sounds, with no guarantee of exactly recreating a sound. Sequential used microprocessors to allow users to recall sounds instantly rather than having to recreate them manually. The Prophet-5 facilitated a move from synthesizers creating unpredictable sounds to producing "a standard package of familiar sounds". Initially, Smith and Bowen developed the Prophet-10, a synthesizer with ten voices of polyphony, meaning it could play up to ten notes simultaneously. Smith and Bowen removed half the electronics, reducing the voices to five and creating the Prophet-5. In 1978, Sequential released the Prophet-5, the first programmable polyphonic synthesizer, which was widely used in the music industry. Whereas previous synthesizers required users to adjust cables and knobs to change sounds, with no guarantee of exactly recreating a sound, the Prophet-5 used microprocessors to store sounds in patch memory.
The Oberheim Polyphonic Synthesizer is a series of analog music synthesizers produced from 1975 to 1979. It was the first production synthesizer capable of playing chords. It works by combining multiple SEM modules — each generating one voice — under shared keyboard control and a two-channel sequencer. Its sonic thickness and depth arise partly from random variance between SEM modules. It has no patch memory, suffers tuning drift, and demands high maintenance. Musicians used it for unstable, breathing chordal textures. It suits players who prioritise tactile, variable analog polyphony over stability or recall.
The Roland SH-101 is a monophonic analog synthesizer made by Roland Corporation between 1982 and 1986. It features a single oscillator, sub-oscillator, low-pass filter, mixer, noise generator, arpeggiator and sequencer. An ADSR envelope controls the filter and VCA. The LFO modulates filter, VCA, pitch and pulse width. It can be played as a keytar using an optional handgrip and shoulder strap, and it can be powered via battery.
The Yamaha SY99 is a 1991 hybrid digital synthesizer combining FM, sample-based, and subtractive synthesis. It enables PCM samples to function as FM modulators, controllable via velocity, aftertouch, wheels, pedal, and breath controller. It improves on the SY77 with a 76-key keyboard, expanded ROM, user-loadable PCM samples usable in FM synthesis, and an SPX900-derived real-time controllable effects processor.
The Synclavier was not a keyboard for players. It was a digital sound laboratory — built for engineers, not performers. Its additive core was brittle. Its sampling was revolutionary. Its 100 kHz rate had no peer. Its role in film sound began at Glen Glenn Sound. Its legacy is infrastructural: the first hard-disk recorder, the first layered digital timbre system, the first computer-based sound editor. It belongs in history — not on a stage.
The Roland System 100 is an analog semi-modular synthesizer introduced in 1975. It consists of discrete rack- and keyboard-mounted units (101, 102, 103, 104, 109), each independently powered, supporting patch-cable reconfiguration of an otherwise fixed signal path. It forms an expandable two-oscillator monosynth with sequencing and effects, uses 1V/oct control, and avoids fixed oscillator footages for enhanced sound design flexibility.
The TR-808 is a programmable analog drum machine introduced in 1980. It generated all sounds via analog synthesis—not sampling—and allowed full percussion track programming including breaks and rolls. It supported up to 32 patterns, chaining up to 768 measures, and beat accents. Roland discontinued it in 1983 after approximately 12,000 units due to semiconductor shortages. It was a commercial failure because the market preferred realistic drum sounds.
The Ensoniq VFX is a performance-type synthesizer released in 1989. It employs Transwave Wavetable Synthesis, Sample playback and Subtractive Synthesis. It has 21-voice polyphony. It features Poly-Key Pressure (Polyphonic Aftertouch). It allows combining up to three voices into a preset for live performance. It includes the Ensoniq Signal Processing (ESP) chip for 24-bit effects. A single sound can contain up to six oscillators. It integrates synthesis, effects and sequencing into a single-unit digital studio. It delivers terrific acoustic sounds and innovative performance and sequencing features.
The Access Virus is a series of DSP-based virtual analog synthesizers introduced in 1997 and updated through the TI series. It offers subtractive, phase distortion, and FM synthesis—with wavetable added from the TI generation onward. Formats include rack modules (Virus B, C, TI Snow), keyboard versions (Virus KB, TI Keyboard, TI Polar), and fixed control layouts. It prioritises polyphonic stability, real-time editing, and aggressive tonal character over tactile expressivity or modern integration.