Synthesizers

Are the motorised knobs of Melbourne Instruments’ debut synth a gimmick, or should all synths have them?

Sometimes Knobula’s Pianophonic module sounds a whole lot like a piano, sometimes it just sounds piano‑ish, and sometimes it sounds nothing like a piano.

Dave Smith’s last synthesizer is a worthy farewell from a man who gave the synth world so much.

Can the Synclavier Regen live up to the near legendary status of its ancestors?

AJH Synth’s first dedicated system reimagines what the Minimoog might be.

The Triple Cross is a three‑channel stereo crossfader and panner with some rather powerful tricks up its sleeve.

GForce’s software Mellotron just keeps getting better.

Intellijel pack their considerable Eurorack experience into a single standalone synth.

The Molten Motion Meter is the fruit of a collaboration between Robin and DIY‑leaning Eurorack company Befaco.

In the biscuit barrel of modular, ACRONYM is a chocolate Hobnob dunked into a chilli mochaccino.

Roland’s SH‑101‑inspired S‑1 is a great‑sounding synth with surprising depth.

The Trinity is a three‑voice drum module with four separate synthesis algorithms to generate its sounds.

ZAPS is designed for fast, percussive sounds that spit, splat, zip and zap, although it won’t shy away from the odd melody either.

UJAM’s Usynth range is about getting good results quickly, and GLAM is no exception.

Newcomers GS Music are kicking things off in style with an ambitious polysynth.

Think you know what analogue synthesis sounds like? Pittsburgh’s Taiga might change that...

Baby Audio’s first soft synth is inspired by the baby of the Yamaha CS range, the small but immediate CS‑01.

Make Noise need almost no introduction. Among the prime movers in the Eurorack explosion, former Moog employee Tony Rolando...

Coral is an eight‑voice, eight‑part, 10‑sound‑engine synthesizer in a 14HP module.

Sound Particles have placed 3D audio at the heart of their new soft synth.

Sofia is an oscillator that synthesizes vocal‑like formants without filtering, achieved by superimposing decaying sinusoidal tones onto each individual cycle of a fundamental base waveform.