Synthesizers

With the UNO Synth Pro X, IK have upped their synth game and targeted ‘serious’ synthesists.

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.

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

American musician and technologist Corry Banks, aka Bboytech, is the driving force behind Modbap.

Reason’s new Objekt synth takes physical modelling in a new direction.

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?

Hazel Mills talks us through her impressive career, from working as a touring session musician, being a member of the Will Gregory Moog Ensemble, working with synth maker UDO Audio and releasing her debut solo EP.

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.

Arushi Jain has toured the world over as Modular Princess, with a critically acclaimed brand of electronic composition infused with the influence of Hindustani classical music.

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

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

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

Having joined the team at Moog Music back in 2015, product strategist Max Ravitz was a key player in the development of the widely lauded Moog Mother‑32.

Alan R Pearlman founded Tonus in 1969, a company that would soon become ARP Instruments, and began producing synthesizers such as the legendary ARP 2500, 2600 and Odyssey.

'Listening To The Music The Machines Make' - Inventing Electronic Pop 1978-1983, sets out to examine the multitude of influences that led to the synthpop revolution that spanned a five year period.

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