We head into the world of synthesizer megafauna to round‑up some of the best polysynths on the market today.
The resurgence of large, peformance‑oriented synths shows no signs of slowing down, and along with the reissues and modernised classics from the usual suspects, there are plenty of newer companies throwing their hat in the ring, too. Whether you’re after a meticulous recreation of early greats or an imaginative new approach — or perhaps something that does a bit of both — there’s almost certainly a current product that will deliver the goods. So, lets take a look at some of the biggest and best keyboard‑equipped polysynths that are on the market today.
Arturia PolyBrute 12
The latest iteration of Arturia’s flagship polysynth doubles the voice count of its predecessor from six to 12, and promises to deliver a level of playing expression that rivals acoustic instruments. The PolyBrute 12’s signal path begins with a pair of the company’s analogue Brute oscillators and a sub‑oscillator, which are followed by a dual analogue filter section that houses a continuously variable 12dB/oct Steiner filter and a Moog‑inspired 24dB/oct ladder; the filters can be arranged in series or parallel, and a master cutoff control makes it possible to control both simultaneously. VCF, VCA and mod envelopes are joined by three LFOs, and a stereo effects sections offers an array of built‑in reverbs, delays, choruses, flangers, phasers and more.
Like the original PolyBrute, the instrument’s mod matrix is presented on a grid of top‑panel buttons, which also double up as an interface for the onboard sequencer. As for expressive control, a ribbon placed above the 61‑note keybed offers touch control over any mod matrix destination, while a Morphée controller below the pitch and mod wheels combines an X/Y pad with a spring‑loaded bed that offers Z‑axis control, allowing for simultaneous control of up to three mod destinations. The instrument’s standout feature, though, is the FullTouch keybed. The patented design takes the concept of polyphonic aftertouch a step further, offering expression control throughout the entire movement range of every key, allowing a level of control that Arturia say is unmatched by any other synth. Regular channel and polyphonic aftertouch modes are still present.
Those working in the studio benefit from PolyBrute Connect, a Mac/PC app and plug‑in that replicates the instrument’s entire top panel and offers remote control and patch management.
$4999
£3429 including VAT.
www.soundonsound.com/reviews/arturia-polybrute-12
www.arturia.com/products/hardware-synths/polybrute-12/overview
ASM Hydrasynth Deluxe / Leviasynth
The ASM Hydrasynth Deluxe essentially places two Hydrasynth’s into a single instrument, and pairs the dual engines with a 73‑note polyphonic aftertouch keybed. It can be configured either as a single 16‑voice instrument or run in split or layered modes, and each part features independent stereo outputs. Each engine is equipped with three oscillators, dual Wave Mutants (which allow the oscillators to be processed with FM, wave stacking, PWM and all manner of other trickery) and a pair of filters that can be arranged in series or parallel; each oscillator offers a choice of 219 single‑cycle waveforms, and two of the three offer wave‑morphing. Modulation is comprehensive to say the least, with no fewer than five LFOs and five DAHDSR envelopes joined by a 32‑slot mod matrix that offers 35 sources and 191 destinations, while a collection of onboard effects include everything from pitch‑shifting and distortion to delays and reverbs.
The more recently released Leviasynth picks up where the Hydrasynth leaves off, packing in eight oscillators, 13 envelopes, five LFOs, 18 digital filter modes, a four‑pole analogue filter and an onboard three‑track sequencer. In addition to their Polytouch keybeds, both the Hydrasynth Deluxe and Leviasynth feature a ribbon controller and a set of powerful macro controls.
Hydrasynth Deluxe $1999, Leviasynth $2499.
Hydrasynth Deluxe £1701, Leviasynth £2799. Prices include VAT.
www.ashunsoundmachines.com/hydrasynth-deluxe
www.ashunsoundmachines.com/leviasynth-key
Clavia Nord Wave 2
Along with their acclaimed stage pianos and organs, Clavia Nord also offer some all‑out synths in their line‑up. The current flagship is the Wave 2, a four‑part multitimbral instrument that combines virtual analogue, wavetable and FM synthesis with sampling and boasts 48‑voice polyphony. A Layer Control section on the top panel offers quick access to each of the synth’s four parts, and includes a dedicated set of faders for setting the balance between layers; it’s also possible to arrange them across the keyboard using up to three split points. Each layer benefits from its own EQ and effects processing, and it’s possible to group layers together so that they can share the likes of envelopes, filters, effects and the onboard arpeggiator.
The Wave 2’s filter is a multi‑mode affair that offers low‑, band‑ and high‑pass modes along with a Moog‑style ladder, and modulation is taken care of by an LFO that offers triangle, square, sample & hold, sawtooth and inverted sawtooth waveforms. As for effects, the instrument includes a selection of delays and reverbs with dedicated top‑panel sections, along with a multi‑effects section that offers tremolo, pan, ring modulation, chorus, ensemble and vibe processors.
$2999
£2199 including VAT.
www.soundonsound.com/reviews/clavia-nord-wave-2
www.nordkeyboards.com/products/nord-wave-2/
Expressive E Osmose 61
As well as functioning as a powerful MPE controller, the Expressive E Osmose is also a fully-fledged standalone polysynth, and now comes in a larger 61‑key size.
Powered by Haken Audio’s EaganMatrix engine, the instrument offers up to 24‑voice polyphony and is capable of creating a whole host of modern and vintage sounds. The engine features five oscillators/waveshapers along with noise sources, five multi‑mode filters, a pair of filter banks that provide physical modelling, granular and additive synthesis capabilities, and a collection of effects that include delays, reverbs and modulation. The instrument itself features a set of six macro controls that govern key parameters for each preset, while in‑depth tweaking and patch design can be carried out using a Mac/PC editor application.
The standout feature of the Osmose is of course its famous keybed, which despite looking like your average piano‑style action, features a side‑to‑side rocking motion on every key that generates additional control data. The system allows the instrument to offer the sort of expressive control that can be obtained from the likes of the ROLI Seaboard, but without the learning curve that comes with moving away from a traditional keyboard.
$1999
£1899 including VAT.
www.soundonsound.com/reviews/expressive-e-osmose
Frap Tools Magnolia
Described by Frap Tools as “an analogue FM synthesizer that’s actually fun to play”, the Magnolia aims to bring the sound and feel of the company’s Eurorack modules to the polysynth market. It brings together some of their most prized circuit designs, placing them in an eight‑voice, bi‑timbral instrument equipped with a high‑quality 61‑note Fatar keybed that boasts velocity sensitivity and polyphonic aftertouch. Its two oscillators feature distinct designs: the first takes an East Coast approach and offers PWM, while the second draws its inspiration from the West Coast and features linear through‑zero FM, wavefolding and flip sync.
As for filters, the Magnolia includes 18dB/oct high‑pass and 24dB/oct low‑pass offerings — both are resonant and offer linear FM, and benefit from a pre‑filter saturation circuit. Three loopable DAHDSR digital envelopes are present, along with three digital LFOs with continuously variable waveforms, and a hands‑on mod matrix includes 16 sources and 38 destinations. A key feature is Frap Tools’ Polymove function, which creates random control signals for every voice (and every destination within it), making quick work of creating everything from subtle variations to “complete chaos”!
Some built‑in effects are included, too, with two global effects slots offering a selection of choruses and delays.
$4829
£3685 including VAT.
Groove Synthesis 3rd Wave
The Groove Synthesis 3rd Wave brings the sound of the much‑loved PPG Wave series into the modern age, and offers a combination of classic and modern wavetable synthesis along with analogue modelling and sampling. It’s a 24‑voice instrument that boasts four‑part multitimbrality, and allows users to layer the independent parts or split them across keyboard zones; sequencing and effects can be applied on a per‑part basis, and all four parts are treated to their own level and pan controls, as well as dedicated rear‑panel outputs. Its three oscillators can each function as a PPG‑era wavetable, a modern high‑resolution wavetable, an analogue‑modelled waveform or a sample.
Thanks to a built‑in Wavemaker tool, users can create up to 64 custom wavetables — it’s even possible to use the instrument’s audio input to generate a wavetable from any audio source. A Dave Rossum‑designed 2140 analogue low‑pass filter is joined by an SEM‑style state‑variable filter, and it’s possible to run both in series. The 3rd Wave’s mod matrix features 16 assignable slots, 12 fixed slots, 27 sources and 114 destinations, and assignments can be made on a per‑part basis, meaning that each of the instrument’s four layers have access to their own mod matrix.
There’s an onboard pattern‑based sequencer that’s capable of governing notes, songs and parameter changes, and allows users to arrange up to 24 patterns, each containing up to 32 measures. As for effects, the 3rd Wave is kitted out with a healthy selection of reverbs, delays and modulation processors, and each of its four parts can be assigned with any two effects at one time.
$4995
£4825 including VAT.
www.soundonsound.com/reviews/groove-synthesis-3rd-wave
Melbourne Instruments Nina
Just as we were going to press, we discovered that Melbourne Instruments’ keyboard‑equipped Delia is no longer in production, leaving the Nina as the sole polysynth in their line‑up. Featuring 12 voices and four‑part multitimbrality, the Nina pairs two analogue VCOs with a digital wavetable oscillator, and includes a Moog‑inspired four‑pole ladder filter. An A/B Morph function makes it possible to create two variations of a patch and seamlessly blend between them — or find a completely new state that sits somewhere between the two.
The star of the show for many will be Melbourne’s motorised pot system, which allows all of the Delia’s rotary controls to jump to the appropriate position when you call up patch changes. Along with the obvious recall benefits, the system’s magnetic‑field‑based design means that pots can be endless, stepped or detented depending on their assignments.
Since launch, the synth has been updated with a powerful sequencer that boasts four independent polyrhythmic and polyphonic tracks with up to 64 steps, and offers per‑step parameter locking. Melbourne Instruments have also informed us of another upcoming update that will introduce the Macro Oscillator found on the Delia, kitting the Nina’s oscillator section out with 45 waveform models created using the code that powers Mutable Instruments’ Braids Eurorack module.
$3299
£3650 including VAT.
www.soundonsound.com/reviews/melbourne-instruments-nina
www.melbourneinstruments.com/nina
Moog Muse
Moog describe their latest polysynth as “a melting pot of classic Moog analogue circuit designs paired with forward‑thinking digital controls”. True to that statement, the Muse draws on a number of the company’s iconic instruments, combining two Voyager‑derived oscillators with a saturating mixer, dual transistor ladder filters and discrete stereo VCAs inspired by their early modular systems. In addition to the usual array of waveforms, both oscillators feature FM and hard sync, and are joined by a dedicated modulation oscillator that can function as a per‑voice modulation source that’s independent of the mod matrix, or be pushed into audio rates and act as a third oscillator.
Two envelopes and two assignable LFOs are present, along with a dedicated per‑voice pitch LFO that’s been optimised for creating vibrato effects. The Muse boasts a knob‑per‑function layout, and includes a fully featured arpeggiator and a powerful 64‑step sequencer that’s capable of storing 16 banks of 16 sequences.
$3499
£2999 including VAT.
www.soundonsound.com/reviews/moog-muse
www.moogmusic.com/synthesizers/muse/
Novation Summit
Novation’s flagship polysynth brings together a pair of the company’s praised Peak desktop modules and pairs them with a 61‑note keybed and an extended set of hands‑on controls and some handy extras such as new filter modes.
The Summit features 16 voices and offers bi‑timbral operation, which can be configured in layered, split or dual modes — the second part can be made available on its own pair of rear‑panel outputs. Three FPGA‑based New Oxford oscillators deliver analogue‑style waveforms along with FM and wavetable synthesis, and users can ‘draw in’ their own oscillator shapes using the Novation Components software. The digital oscillators are followed by a pair of analogue filters that offer low‑, band‑ and high‑pass operation, along with a dual mode that makes it possible to combine both filters and have them governed by the same cutoff control; the section is also equipped with pre‑ and post‑filter analogue distortion.
The Summit’s VCAs are also analogue, and there’s a third analogue distortion circuit that sits between the VCAs and digital effects. As for modulation, there are four LFOs (two per‑voice and two global), and the synth’s mod matrix offers 16 slots per patch, with each slot supporting two sources per destination. The Summit also includes onboard chorus, delay and reverb effects, which are all accessible via dedicated top‑panel controls.
$2899.99
£2469.99 including VAT.
www.soundonsound.com/reviews/novation-summit
novationmusic.com/products/summit
Oberheim OB‑X8 / OB‑6
The Oberheim name carries a lot of weight in the synth world, and the brand made an official return in 2022 after founder Tom Oberheim regained the rights to the name. Their first release, the OB‑X8, is an ambitious instrument that recreates and builds upon the sounds of the company’s celebrated OB‑X, OB‑Xa and OB‑8. A pair of discrete oscillators based on the SEM and OB‑X deliver a classic Oberheim sound, while the filter section offers a number of configurations: a two‑pole low‑pass SEM‑style filter found on the OB‑X; a two‑ or ‑four‑pole CEM3320‑based design from the OB‑Xa and OB‑8; and high‑pass, band‑pass and notch modes from the original SEM.
The company say they have meticulously matched the envelope responses so that they match each original OB model, and the synth’s factory preset collection includes a full set of sounds from the OB‑X, OB‑SX, OB‑Xa and OB‑8. Thanks to a recent firmware update, the OB‑X8 now boasts a binaural mode that pans voices hard left and right for true stereo operation, simultaneously selectable waveshapes for each oscillator, independent VCO 1 and VCO 2 level modulation and full support for MPE.
Since the revival of the Oberheim brand, the OB‑6 that was originally released by Dave Smith Instruments (and later became part of the Sequential line‑up) has now officially returned home, and can once again be purchased sporting an Oberheim badge!
OB‑X8 $4999.99, OB‑6 $3499.99
OB‑X8 £4799, OB‑6 £3279. Prices include VAT.
www.soundonsound.com/reviews/oberheim-ob-x8
www.soundonsound.com/reviews/dave-smith-instruments-ob6
Roland Jupiter X
There are few synths that have achieved the status of the Roland Jupiter‑8, and you’ll have to part with an eye‑watering amount of cash to get hold of an original example. Thankfully, Roland’s current flagship promises to faithfully recreate the sought‑after classic, as well as reproducing sounds from the likes of the Juno‑106, SH‑201 and XV‑5080, along with a selection of the company’s vintage drum machines and modern RD pianos.
The Jupiter X is powered by Roland’s ZEN‑Core engine, which combines virtual analogue and PCM synthesis and offers up to 256 voices. Up to five parts can be layered — four are dedicated to synths while one is reserved for drums — making it possible to create complex patches that blend the sounds of the company’s classics, or split them across different keyboard zones. A Jupiter‑8‑inspired top panel offers a wealth of hands‑on control in a familiar layout, while more involved sound design can be carried out using a software editor.
There’s also an AI‑powered I‑Arpeggio system that’s capable of creating drum parts, bass lines, chords and arpeggios based on the user’s playing — it works across all five parts simultaneously, and the results can be exported to a DAW session.
$3189.99
£2179 including VAT.
www.soundonsound.com/reviews/roland-jupiter-x
www.roland.com/global/products/jupiter-x/
Sequential Prophet‑6 / Trigon‑6
The latest iteration of Sequential’s classic promises to combine classic tone with modern design, pairing a discrete analogue signal path with digital control. The Prophet‑6 features a pair of oscillators and a sub‑oscillator per voice, with both offering continuously variable waveshapes that move from triangle through sawtooth to pulse, while a dual filter section houses a four‑pole resonant low‑pass and a two‑pole resonant high‑pass filter. Amp and filter ADSR envelopes are joined by an LFO with five waveshapes: sine, sawtooth, reverse sawtooth, square and random (sample & hold).
A more recent addition to the Sequential family is the Trigon‑6, which was the last of the company’s instruments to be designed by their late founder Dave Smith. Key distinctions from the Prophet‑6 include its three‑oscillator architecture and a ladder filter than can be switched between two‑ and four‑pole modes. Both the Prophet‑6 and Trigon‑6 feature Sequential’s Poly Mod system, which allows for some complex per‑voice modulation trickery, and a Vintage knob designed to introduce instabilities and mimic the tone of older instruments.
There’s also the Prophet Rev2, a hybrid bi‑timbral synth that comes in eight‑ and 16‑voice versions and combines the sound of Sequential’s older instruments with a more modern modulation system that’ll be welcomed by keen sound designers. If it’s purely the vintage Sequential sound you’re after, then the reissues of the Prophet‑5 and Prophet‑10 offer faithful recreations of the company’s early instruments, but with some modern bells and whistles such as velocity sensitivity, aftertouch and MIDI support.
From $2999.99
£2199 including VAT.
www.soundonsound.com/reviews/sequential-trigon-6
www.soundonsound.com/reviews/sequential-prophet-5-prophet-10
www.soundonsound.com/reviews/dsi-prophet-rev-2
UDO Audio Super Gemini
UDO Audio’s Super Gemini essentially packs two of their Super 6 instruments into a much larger bi‑timbral instrument, and gives each of them their own set of dedicated top‑panel controls. It employs FPGA‑based digital oscillators that produce an array of analogue‑style waveforms and are capable of cross and ring modulation; the first includes a Super mode that offers either seven‑voice unison analogue waveforms or one of 16 single‑cycle waveforms, while the second features a pair of sub‑oscillator options and hard sync.
The filters are an analogue affair (there’s a resonant low‑pass and a high‑pass), as are the VCAs, and each layer is kitted out with two LFOs, two envelope generators and an 8x8 mod matrix. There’s also two 24‑bit stereo effects engines offering chorus and delay, along with two arpeggiators and 64‑step sequencers, which, again, are available on a per‑layer basis.
The Super Gemini features the company’s acclaimed Binaural mode, where the left and right channels throughout the entire signal path are each fed by their own independent voice. As such, the synth can operate either with 20 voices, or 10 ‘super’ voices — when opting for the latter, it’s possible to control each channel separately to create all manner of stereo imaging effects. A 61‑key, semi‑weighted Fatar keybed boasts velocity sensitivity and polyphonic aftertouch, and some additional hands‑on control is provided by a custom ribbon controller strip placed above the keys. And if the onboard expressive capabilities still aren’t enough, the instrument boasts full support for MPE controllers.
$4975
£3595 including VAT.
www.soundonsound.com/reviews/udo-audio-super-gemini
www.udo-audio.com/super-gemini
Yamaha Montage M8X
Sitting at the top of Yamaha’s synth range is the Montage M8X, a powerhouse of an instrument that combines three synth engines with an 88‑note hammer‑action keybed that features polyphonic aftertouch. Its 128‑note AWM2 (Advanced Wave Memory 2) engine uses a mixture of sampling and synthesis to deliver everything from realistic‑sounding acoustic instruments and drums to analogue synth tones; each of the engine’s 16 parts contains eight programmable synths with a choice of 18 filters, nine LFOs, three envelopes (amp, pitch and filter), a three‑band EQ and an insert effect slot.
A 128‑note FM‑X engine then provides an eight‑operator FM synth that expands on Yamaha’s legendary DX7, and offers everything from classic 1980s sounds to cutting‑edge EDM patches — it’s even possible to import DX7, DX7II, TX802 and TX816 patches using a free web application. Lastly, a 16‑note AN‑X engine offers yet more analogue emulation, and includes PWM, ring modulation, FM, waveshaping and wavefolding.
Polyphony has been increased compared to the previous Montage series, with the latest flagship boasting up to 400 notes across its three engines. A generous selection of onboard effects includes everything from reverbs to bit‑crushers, along with a number of analogue‑inspired offerings powered by the company’s Virtual Circuit Modeling technology.
A set of top‑panel controls provide hands‑on access to key parameters, while Yamaha’s Super Knob control makes it possible to assign up to 128 parameters to a single physical dial. The Montage M8X also features a built‑in 4‑in/10‑out USB audio interface.
$4449.99
£4140 including VAT.
uk.yamaha.com/en/musical-instruments/keyboards/products/synthesizers/montagem/
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