At first, the 2X looks simple and straightforward enough. Conventional analog waveforms like the Triangle, Sawtooth, and Pulse come standard on both Oscs, but Oscillator 1 also includes a Sine wave, and Osc 2 has Noise available, whose color can be brightened or dulled by turning the Semitones knob.
The Pulse Width can also be modulated, but unlike on the Nord Lead 3, or most other analog-modeling synths, the Pulse Width is a Master control, so turning the knob or linking PW to an LFO or the Modulation section affects the Pulse Width for pulse waves on both oscillators at the same time and the same way. There is no Pulse Width variability per oscillator to add complexity, which can be a little frustrating if you want to create more complex pulse-based tones.
However, one area the 2X shines is in the FM capabilities. By jumping between oscillators, and playing with semitones and adjusting the FM, you can create some convincing-sounding DX-like tones on it, and I even managed to recreate some classic DX7 slap bass style sounds on it fairly easily.
The Sync and Ring Mod behave more or less like normal for any synth, and I personally have very little use for them, since they don’t factor into genres of music I write.
Now the big question you’re all wondering is, “How does it sound?” And the answer is:
Excellent.
The saws and pulses are bright, pop, and full of harmonics that become fizzier higher up the keyboard you go, so midrange basses, plucks, and bright detuned leads have a very pleasing musical quality to them that cuts through a mix without being too in-your-face, and the sines and triangles are also good and clean, and lend themselves well to all manner of crazy FM tones.
The Fine Tune detuning between Osc 1 and 2 has a somewhat odd and uneven curve to it, as it seems to detune more rapidly and aggressively turned clockwise, and less aggressive detuned counter-clockwise. It can be helpful when trying to make 80s leads that are detuned by small increments, but it takes a little getting used to.
Some folks complain that the synth doesn’t sound “fat” enough on its own. And compared to a Moog, it doesn’t. But for a modern dance mix, that lack of heavy fatness is a blessing in disguise, as it requires little to no processing to sit cleanly in a mix. These oscillators are definitely the big strong point of this synth.
