Looking for a hardware synth for your Trance productions, and unsure which one to get? Curious to hear how your favorite synth’s SuperSaw sound stacks up against other synths’ SuperSaw style sounds? Bored, and want to find out what the best hardware SuperSaw sound is?
Wonder no more!
Watch our Grand SuperSaw Showcase, a big A vs B vs C vs… test of many classic and modern VA and analog synths’ SuperSaw sounds, and decide for yourself which is your favorite!
In the market for a solid, awesome keyboard synth to take your Trance productions to the next level? Did you read our previous article about the Top 10 Desktop Hardware Synths For Trance, and wonder what else is out there for live play?
Whatever your reason, here's a list of 10 keyboard synths ranging from tiny budget synths all the way up to monster flagship units. This list contains virtual analog, digital, and analog synths. We've tried not to repeat any synths from our previous list (since most come in a keyboard and desktop version). This list is in no particular order, but you can listen to soundset samples of each to decide which keyboard suits your music best.
The successor to the legendary SuperNova II (its engine is even based on the SNII), this is a solid all-arounder workhorse synth that can make any type of sound you need, and it’ll fit right in the mix with ease. While minimal on knobs and front panel controls, its submenus are logically arranged, and there’s a free VST Editor/Librarian from Novation to help you create, edit, and save patches. If you’re looking for a JP8000 alternative with more polyphony (and FX), or want that classic Nova trance sound in a more modern synth, this is a great choice.
The only differences between the UltraNova and the MiniNova are the size difference, and the Mini will not double as an interface/ sound card. Otherwise the two are functionally the same and sound identical.
Polyphony - Up to 18-note polyphony (dynamic voicing)
Multitimbral - Mono-Timbral (1 Part)
Synthesis Method - Based on Supernova II
Waveforms include: Square, sine, tri, sawtooth, pulse, 9 x saw:pulse combinations. 20 x digital waveforms. 36 x wavetables
Effects- Distortion - up to 2 instances. Compressor - up to 2 instances. Chorus/Phase - up to 4 instances. Delay - up to 2 instances. Reverb - up to 2 instances. Gator. EQ. 12 band vocoder.
Arpeggiator - 33 patterns. Chord function - lock up to 10 notes
Patch storage up to 512 on hardware (ships with 300 factory patches)
Controllers - 8 x touch sensitive encoders. 1 x large smooth encoder (with back-lit filter lock buttons). 1 x large patch select/speed dial encoder. 2 x volume & monitor mix dials. 39 x LED lit/indicated buttons. 1 x Pitch wheel (LED lit). 1 x Modulation wheel (LED lit)
37-note keyboard with velocity and aftertouch
Connections - XLR dynamic mic input. 2 x ¼" jack inputs. 2 x ¼" jack outputs. 2 x ¼" jack aux outputs. 1 x ¼" jack headphone output. SPDIF digital output on RCA connector. Expression pedal on ¼" jack input. Sustain pedal on ¼" jack input. MIDI in/out/thru. 12 volt power input. USB port (UltraNova can be powered via USB). Kensington Lock port
No doubt the more seasoned persons among you will recognize this name. Dave Smith Instruments (now Sequential) have been long been pioneers in the music world. While their Prophet 5 and 10 are true icons, and nearly every big name has (or did in the past) use a DSI synth in their music, their synths remain relatively underutilized in Trance. A scant few like Above & Beyond and Tritonal use a Prophet 08, and Zombie Nation used a Prophet 5, but Prophet users in Trance are far and few between. So this makes the Rev2 perfect for this list, since it hasn’t been used to death in a million records, and has enough features and flexibility to make a solid all-arounder for big uplifting anthems (we recommend the 16 Voice version, to experience the real power of this synth).
Polyphony - 8 or 16 voice polyphony (8 voice version is expandable to 16 with installation of additional voice card)
Oscillators - 2 digitally controlled analog oscillators (DCOs) per voice (plus sub octave on oscillator 1) with selectable sawtooth, triangle, saw/triangle mix, and pulse waves (with pulse-width modulation). Glide (portamento): separate rates per oscillator. White noise generator. Analog VCAs. Hard sync
Filters - 1 analog Curtis low-pass filter per voice, selectable 2- and 4-pole operation (self-resonating in 4-pole mode)
Envelopes - 3 envelope generators: filter, VCA, and assignable (four-stage ADSR + delay); Envelope 3 can loop.
Sequencer - Polyphonic step sequencer with up to 64 steps (6 notes per step), and ties and rests. Separate 16 x 4 gated step sequencer. Each layer can have a separate sequence.
LFOs - 4 LFO’s with key sync per LFO
Modulation - 8-slot modulation matrix, 22 sources, 53 destinations, 5 additional dedicated sources: mod wheel, pressure, velocity, breath controller, footswitch
Arpeggiator - Programmable arpeggiator with up, down, up+down, random, assign modes. Selectable note value: 16th note, 8th note triplet, 8th note, dotted 8th note, quarter note. One, two, or three octave range. Re-latching arpeggiation. Note repeat
Controls - 5-octave keyboard with semi-weighted action, velocity, and aftertouch. 55 knobs and 35 buttons enable deep and comprehensive editing with little to no menu diving.. Spring-loaded pitch wheel and assignable mod wheel
Memory - 512 Factory Programs (4 banks of 128) and 512 fully editable User Programs with 2 layers (2 separate sounds) in each Program
In/Out - MIDI In, Out, Thru. Main stereo audio output: 1/4″ unbalanced. Output B stereo audio output: 1/4″ unbalanced. Sustain pedal input: accepts normally on or normally off momentary footswitch.
Pedal/CV input - responds to expression pedals or control voltages ranging from 0 to 5 VDC (protected against higher or negative voltages). Headphone output: 1/4″ stereo phone jack.
A thoroughly underrated mini synth that punches far above its weight. Based on the sound engine of the Korg Radias, its tiny cheap-feeling plastic frame hides synthesis and sonic capabilities that rival synths hundreds of dollars more expensive. Between its unison mode and extra waveform features, it’s capable of a wide variety of tones, and its many distortion and FX options (except Reverb, strangely) can turn it into a powerhouse synth that could serve as a primary synth for tech trance or hard trance producers.
Voice polyphony - Maximum 8 voices (when using Vocoder, it is 4 voices)
Synth 2 oscillators + noise generator
Oscillator 1 Waveform - 8 types (Sawtooth, Pulse, Triangle, Sine, Formant, Noise, DWGS, Audio In), Modulation: Waveform, Cross, Unison, VPM
Oscillator 2 Waveform - 4 types (Sawtooth, Pulse, Triangle, Sine)
Modulation: Ring, Sync, Ring+Sync
Tone Generator System MMT (Multiple Modeling Technology)
Program Multi Timbral Maximum 2 (when using Layer, Split, or Multi)
Waveshape Type - Drive, Decimator, HardClip, OctSaw, MultiTri, MultiSin, SubOSCSaw, SubOSCSqu, SubOSCTri, SubOSCSin, LevelBoost
Multimode Filters Filter 1 - -24 dB/oct LPF ~ -12 dB/oct LPF ~ -12 dB/oct BPF ~ -12 dB/oct HPF ~ Thru
Filter 2 - LPF, HPF, BPF (switchable)
Vocoder - 16 channel vocoder, adjustable level and pan for each channel, Formant Shift function, Formant Hold function
Keyboard - 37 notes (Natural Touch mini-keyboard, velocity sensitive)
Controller - Pitch bend wheel, Modulation Wheel
Effects - Timbre 2 band EQ Master effect 2 units, 17effect algorithms.
Arpeggiator - Six types: UP, DOWN, ALT1/2, Random, Trigger, Individual step on/off function
Programs - 128 programs (A/B banks x 8 genres x 8 category)
Inputs - [AUDIO INPUT 1] (1/4” phone jack, unbalanced, with MIC/LINE switch) – Rear Panel
[AUDIO INPUT 1 (MIC)] (XLR jack / balanced) – Front Panel
Outputs - [L/MONO, R] (1/4” Standard phone jacks / unbalanced)
[Phone] (1/4” Stereo Standard phone jacks)
MIDI In/ Out: USB Type B
For a more unconventional Trance synth, the Moog Sub37 (and Subsequent37) is a standout unit. It’s monophonic, and comes from the newer generation of Moogs, so it has a somewhat brighter, more in-your-face tone, but it has that analog grit and warmth that makes it perfect for basslines, midbasses, leads, and monophonic plucks. Pair it with a quality reverb, delay, and chorus, and you have a killer keyboard that can shake windows from their frames, or peel the paint from your walls. It can even manage rudimentary SuperSaw-like sounds with its 3 oscillators, and the detuning and modulation capabilities that make it able to do detuned leads that will add serious dirt to your lower layers.
Polyphony - Monophonic / Duophonic
Timbrality - 2
Oscillator - 2
LFO - 2
Synthesis type - Analog subtractive
Filter - 1 selectable 6, 12, 18 or 24dB/octave low-pass
Attenuator - ADSR
Aftertouch expression - yes
Velocity expression - yes
Storage memory - 256 patches
Effects - none
Keyboard - 37 keys
External control - MIDI, CV/Gate
A newcomer on the scene, the Summit is the Novation Peak’s bigger sibling, with more polyphony and a generous keyboard for playing epic sounds in realtime. Its Oxford oscillators are digital, and based on a new design that recreates much of the magic of pure analog, without the more annoying quirks of true analog. Its signal path after the oscillators is all analog though, and that gives it a special character untouched by any other. Trance artists who use this will certainly stand in a class of their own with this synth.
Polyphony - 16 note polyphony (dependent on voices used per note). 2-part-timbral. Layered, Split, Dual Bi-Timbral Modes. 5 Voice Modes - Mono, MonoLG, Mono2, Poly, Poly2
Oscillators - 3 oscillators, 1 noise generator with HP filter control, 1 ring modulator, 2 LFOs, 1 amp envelope and 2 mod envelopes (ADHSR + looping), 1 filter
Waveforms - Sine, tri, sawtooth, square / pulse, plus 43 wavetables of 5 waveforms per row
Filter - 1 state variable OTA filter per voice, 12/24dB slope, Low-pass / band-pass / high-pass / dual filter (separation of each 12dB filters), dual filter: LP > HP, LP > BP, HP > BP, LP + HP, LP + BP, HP + BP, LP + LP, BP + BP, and HP + HP, Pre-filter overdrive, Post-filter distortion
Modulation - 16 modulation slots per patch, 2 sources per destination per slot
Mod Sources - Direct (depth), Modulation wheel, Aftertouch (polyphonic and channel AT), Expression pedal 1, Expression pedal 2, Keyboard velocity, LFO1 positive, LFO1 bi-polar, LFO2 positive, LFO2 bi-polar, Amp envelope, Mod envelope 1, Mod envelope 2, Animate 1, Animate 2, CV mod input bi-polar, Bend Up, Bend Down
Mod Destinations - Oscillator 1-3 frequency, v-sync level, shape amount and level, Noise source level, Ring modulator output level, Overall synth output level, Filter drive, distortion, cut-off frequency and resonance, LFO 1 and 2 frequency, Amp env / mod env 1 / mod env 2 attack, decay and release, FM Osc 1 -> osc 2, osc 2 -> osc 3, osc 3 -> osc 1 and noise -> osc 1, Osc 3 -> filter cutoff frequency, Noise -> filter cutoff frequency
Effects - FX are per part, Analogue distortion, 3 chorus types, Delay with 16 types of delay sync, LP and HP damping, slew and stereo
FX Mod Matrix Source - Direct (depth), Mod wheel, Aftertouch, Expression pedal 1, Expression/breath pedal 2, Velocity, Keyboard, LFO 1 +/-, LFO 2 +/-, LFO 3 +/-, LFO 4 +/-, Amp envelope, Mod envelope 1 & 2, Animate 1 & 2, CV +/-, Bendwheel +/-, Bend up, Bend down
FX Mod Matrix Destinations - Distortion level, Chorus level, Chorus rate, Chorus depth, Chorus feedback, Delay level, Delay time, Delay feedback, Reverb level, Reverb time, Reverb low pass, Reverb high pass
Misc - FM controls on front panel, Global LFO 3 & 4, Arpeggiator with key latch – 33 patterns. Patch storage - up to 512 on hardware (ships with 256 factory patches). All knobs (excl. volume), sliders and most buttons transmit and receive MIDI cc commands for external control and mapping. Microtuning with Scala table import and table tuning creation. Manual mode. Multi pot mode: Relative, Pot pick-up, Snap
If there were ever a Holy Grail Synth in the trance world, this just might be it. The Virus and the JP8000 may be more popular, but the A6 commands a degree of respect few others do. And for good reason. It’s 100% analog. It’s got 16 Voices of polyphony, and comes loaded with plenty of knobs and features. It’s a sound designer’s dream, and it makes fabulous trance tones like no other. Sadly, it was expensive to build, notoriously finicky, and prone to needing a lot of repairs. As such, it proved to be Alesis’ undoing in the early 2000s. You can still find these synths floating around in the market, and if you can afford it, and are willing to maintain it, this synth can give you an edge unlike any other.
Polyphony/Multitimbral Parts - 16/16
Waveform Memory ROM/RAM - N/A
Filter Types/Resonance - 4-pole/2-pole multimode/Y
Single Programs ROM/RAM - 256/128
Multitimbral Performances ROM/RAM - 128/128
Portamento - Yes
Number of Keys - 61
Number of Keyboard Zones - 16
Left Hand Controllers - (2) wheel; (1) ribbon
Aftertouch (Poly/Channel) - Y/Y
Number and Type of Controller Inputs - (2) switch; (1) pedal up to 16 steps
Number of Sequencer Tracks/PPQN - 1/16
Sequencer/Memory (Notes) - 16
Arpeggiator - Yes
Number of Effects Processors/Effects Programs - 2/28
Number of Outputs/Type - (4) 1/4" bal mains + aux/16 indiv outs
And here we come to the newest synth on the list. The JD-08 from Roland. It’s their boutique take on the 1991 classic digital synth the JD800, and despite the tiny size, it packs a lot of power. Where the original could only muster 24 Voices of polyphony, the JD-08 can manage 128.
While not strictly a “keyboard” synth by default, the additional purchase of the Roland K-25M keyboard turns this into a minikey synth in the same vein as the Mininova or MicroKorg XL, and thus merits inclusion on this list. Right out of the box it comes with all the original waveforms and presets from the JD800, and it comes with the added bonus of USB-C connectvity, a 3.5mm stereo analog out port, and a headphone jack, and it can function as its own audio interface. So you can pack this synth in your backpack and take it on the road. And it can be powered via USB or batteries, giving you even more flexibility for where and how you use it. It seems to be a little bit brighter in sound than the original, which makes it perfect for more modern productions (and means sounds need less processing to fit in the mix). This synth it is digital through and through, and is proud of it.
Number of Keys: 25 (with optional K-25M keyboard)
Polyphony: 128 notes (dependent on patch load)
Presets: 64 x Original JD-800 Presets, 21 x Factory, 171 x User
Oscillators: 4 x Tone Palettes
Waveforms: 108 x Waveforms
Envelope Generator: Multi-phase Time-variant Envelope
LFO: 2 x LFO (triangle, sawtooth, square, pulse, noise)
Filter: Multimode Lowpass/Bandpass/Highpass
Effects: Distortion, Phaser, Spectrum, Enhancer, Delay, Chorus, Reverb
Arpeggiator: Yes
Sequencer: 2-part, 8-note per part, 64-step, 128 patterns
Analog Inputs: 1 x 1/8" (mix in)
Analog Outputs: 1 x 1/8"
Headphones: 1 x 1/8"
MIDI I/O: In/Out/USB
Other I/O: 1 x 1/8" (clock in)
USB: 1 x USB-C
Power Supply: USB bus power / 4 x AA batteries (included)
In the continuing tradition of excellence, Clavia brings us the Nord Lead 4. A powerful synth with a distinctive sound, it has less polyphony than the Lead 3, but comes with more Unison options, FX, and a number of extra modulation features that make it especially attractive for deeper sound design than most of its predecessors. You can find it in the studios of legends like Giuseppe Ottaviani and Tinlicker (and even Deadmau5).
Oscillator - OSC 1 generating sine, triangle, sawtooth, fixed and modulateable pulse waveforms and 128 wavetables. OSC 2 generating triangle, sawtooth or fixed and modulateable pulse waveforms or noise. OSC MOD section with Hard- and Soft sync plus 3 different Frequency Modulations of OSC 1 from OSC 2.
Filter - Multi-mode filter with 12 dB (2-pole) low pass, 24 dB (4-pole) and 48 dB (6 pole) low pass, band pass, high pass, Ladder M and Ladder 303 characteristics. Cut off, Resnance, envelope amount, envelope amount controlled by velocity. ADSR envelope. Filter keyboard tracking can be set to off, 1/3, 2/3 or 1/1. Adjustable Filter Distortion.
Amplifier - ADSR envelope, velocity control on/off, gain control
Mod Section - LFO 1 generates a square, triangle or any of 4 different types of saw- and inverted sawtooth waveforms. LFO 1 can be routed to Filter Frequency, Osc Mod, Osc Mix, Osc 2 Pitch, Amplitude and FX section. The modulation amount can be set as positive or negative/inverted. The LFO 1 rate can be synchronized to the Master Clock. The LFO 1 section is used to control the rate, range and directions for the arpeggiator. Arpeggiator: Range: 1 - 4 octave. Modes: up, down, up/down, random, Poly. The Arpeggio rate can be synchronized to the Master Clock. LFO 2 generates a square, a regular and inverted sawtooth, LF filtered noise and random staircase waveforms. LFO 2 can be routed to Filter Frequency, Osc Mod, Osc 1 and/or Osc 2 Pitch, Pan and Pulse width. The modulation amount can be set as positive or negative/inverted. The LFO 2 rate can be synchronized to the Master Clock. Modulation Envelope (Attack, Decay/Release) for Osc Mix, Osc Mod, Osc 1 and/or 2 Pitch, FX section and LFO 2 amount. The modulation amount can be set as positive or negative/inverted. The Modulation Envelope can be manually triggered by the Impulse Morph buttons. Patterns: the cyclic waveforms of the LFOs can be replaced by a pattern behavior. There are 128 different patterns, grouped in 6 different styles.
Performance - Voice modes: Poly, Legato with portamento, Mono, True Unison 1, 2 & 3. Four program slots for layering possibilities.
Effects - FX section with continuous Drive/Modulation control. Crush, Drive, 2 different Talk effects, Compressor and Comb Filter. Selectable Delay or Reverb. Delay times at up to 1400 ms can be manually set or synchronized to the Master Clock. Reverb has three algorithms, Room, Stage and Hall with adjustable brightness.
Number of keys - 49-key octave velocity sensitive keyboard with octave shift buttons (+/-2 octaves).
External Control - 3 momentary Impulse Morph Buttons, 7 combinations. Keyboard Split with 2 slots for the upper and lower section. Modulation Wheel, Pitch Stick (with no dead zone at zero crossing), Programmable Pitch bend range, up to +/- 4 octaves, Separate up/down bend range: -12 or -24 semitones, + 2 semitones, 1 pedal input for sustain, 1 pedal input for expression pedal.
User Interface - 3 character LED display, 29 knobs and 20+ buttons for program and performance editing
Memory - Programs (single sounds): 4 x 99 locations. Performances (multi sounds): 99 locations
Audio Out - 4 outputs. Each slot can be assigned to its own output. Headphones output. High resolution low noise 24 bit DACs.
MIDI Features - All control knobs and switches send and receive control change messages. System exclusive bulk dumps. One program or all programs. Master Clock will sync to incoming MIDI clock. Soft Thru.
Connections - 4 Line Level Audio Outputs - ¼", 6,35 mm jacks, unbalanced. Stereo Headphone Output - ¼", 6,35 mm stereo jack. Sustain Pedal - ¼", 6,35 mm jack. Use a momentary pedal, like e.g., Roland DP-2, DP-6, Yamaha FC-4, FC-5, Fatar VFP1-25 etc. Control Pedal - ¼", 6,35 mm TRS stereo jack. Use a Yamaha FC-7, Roland EV-7, Roland EV-5, Korg EXP2 or Korg XVP10. USB connector with MIDI capabilities. MIDI In & Out - 5 pin DIN connectors
Waldorf returns, this time in the form of the MicroQ! Based on the legendary Q, this synth condenses the Q’s keyboard and controls into a more compact package for traveling musicians and artists with smaller studios. Some say it sounds different from the Q, but we think whether or not it does is irrelevant - it sounds awesome. Interesting note: its voicing can be expanded, and can be found in different versions with different voice counts.
Polyphony - 25 voices, expandable up to 75 voices Oscillators - 5 oscillators per voice (Pulse with Pulse Width Modulation, Sawtooth, Triangle, Sine, 2 wavetables with 128 waves each and sub-oscillator per alt-wave); Noise generator
Memory - 300 single programs, 100 multi programs, 20 drum-maps
Filter - 2 Filters (including FM and distortion): Low Pass (12dB/24dB), Band Pass (12dB/24dB), High Pass (12dB/24dB), Notch (12dB/24dB), Comb Filter (positive/negative feedback)
VCA - 4 envelopes, enhanced ADSR configuration with loop and one shot function, bipolar; different trigger modes for each envelope, poly, mono, dual, unison, manual trigger etc.
Modulation - 3 LFOs up to audio range;
Modulation Matrix with 16 slots, freely routable, pre-routed modulation destinations, sources selectable
Effects - 2 effects per program, up to 5 effects in Multimode (Effects: Chorus, Flanger, Phaser, Distortion, Delay, 5 FX, Vocoder)
Arpeg/Seq - Arpeggiator with 16 preset plus 1 user pattern, including accents, timing information, swing, glide, chords and more
Control - MIDI In/Out/Thru (16 parts)
A newcomer, Behringer brought classic analog sound in an affordable package to the masses, and musicians have taken notice. Modeled after the famed Juno 106, it’s intended userbase are synth enthusiasts looking to add some classic and vintage analog vibes to their music. But don’t let that fool you. It’s not just a synth for brass stabs and funk leads. This machine can dish out some sweet sounds great for any trance tune, and at a much lower price than the bigger more pedigreed analogs further up the list. This is a synth to watch out for - it may find itself on a future list of Classics before we know it.
Polyphony (max) - 12 voices
Oscillators - VCO: 2
VCF - 1
Envelope Generator (EG) - 3
LFO - 2
Mixer - Info not available
Included presets - Info not available
User preset slots - 1024
Number of keys: 49
Key size: Full
Aftertouch / Velocity: Both
Output - Stereo TRS
MIDI Connectivity - MIDI In/Out/Thru
Line input - Info not available
USB Connectivity - Yes
Headphone out - Yes
Onboard Features - Sequencer: 32-step. Arpeggiator: Yes. Display: LCD. Effects: Yes. Pitch bend/Modulation: Both
If you've been feeling like VSTs aren't quite cutting it for achieving the sounds you want for your Trance productions, or just want a slightly different sound than everyone else, here's a list of the 10 best desktop synths for the genre. This list contains mixed Virtual Analog, Digital, and Analog synths. The ranking is in no particular order, but you can listen to the soundset samples of each by various studios, to decide which sound suits your tracks the best.
The original Trance synth (along with its sibling, the JP8000). Made famous for its signature SuperSaw sound, it first came to prominence following the release of Rank 1’s iconic classic “Airwave”. Subsequently used by nearly every major Trance artist for pads, leads, and occasionally, basses. Nearly all the controls are laid out on the front panel, making this a very easy to use, friendly synth for the novice hardware user.
Polyphony - 10 voices
Oscillators - 2 Roland Analog Modeling DSP oscillators: Saw, Square (PWM), Triangle (PWM), Super Saw (7 de-tuned Saws), Triangle Mod, Feedback OSC
Filter - Resonant 12/24dB/oct low/band/hi pass, 12-band formant filter bank
Effects - 3 onboard effects: Delay; Multi-FX including Chorus, Flanger, Distortion and Tone control
Memory - 384 preset and 128 user patches; 192 preset and 64 user performance
Arpeg/Seq - Onboard Arpeggiator and real-time Phrase Sequencing (RPS) capability
Keyboard - None
Control - MIDI (2 parts)
Another legendary Trance synth, as much an icon of the genre as the JP80x0. The TI series expanded on the older Virus models with improved DSPs, higher polyphony, added effects, more complex routing options, and more effects. Useful for virtually any genre, and can be used to produce almost 100% of a track, it’s a true studio workhorse. And with an abundance of knobs and front panel controls, it’s easy to use and fun to sculpt sounds with. The TI2 boasts an additional 25% processing power over the first TI, making it extremely useful for long, complex pads, and sounds no other hardware synth can achieve.
Polyphony - Over 90 voices
Multitimbral - 16 parts
Oscillators - 3 osc + subosc + noise, FM, Sync
Waveforms - Sine / pulse / saw / hypersaw / wavetable / granular / formant
Filter - dual LP/HP/BP/BR with envelopes and addtional multi-pole analog emulations (includes Minimoog 4-pole emulation)
LFO - 3 LFOs, multiple options plus mod matrix 18 slots
Envelope - Amp / Filter / 'LFO as envelope' option
Sequencer - none onboard
Arpeggiator - Up / Down / Random / Chord / Multiple additions, editable in software to any variation
Effects - Reverbs, Delays, EQs with Q and freq control, Tape Delays, Distortions (multiple), Phasers, Flangers, Chorus, Analog EQs, Vocoder.
Memory - 128 patches in each of 30 banks plus USB storage / Librarian with additional free patchbanks provided regularly by Access
Control - MIDI, USB, 16-part multitimbral in Multi or sequencer modes
Another amazing VA full of character. It’s a classic you hear in abundance in DuMonde and Ace Da Brain records, and its unique Waldorf Sound makes it distinct from the Virus and JP synths most commonly used, and its polyphony and tone make it great for bright pads, sharp leads, and punchy basses.
Polyphony - 16 to 32 voices
Oscillators - 3 per voice (sawtooth, triangle, sine, PWM, new oscillator algorithms, waves and a noise generator)
Memory - 300 single programs, 100 multi programs
Filter - 2 12dB/24dB Filters (Low pass, band pass, hi pass, notch, comb, ring mod and more; FM and distortion)
VCA - 4 envelopes (ADSR with loop and one shot function, bipolar)
Arpeg/Seq - Arpeggiator: Many user patterns (accents, timing, swing, glide, chords and more); Sequencer: 100 user patterns; 32 steps per pattern, polyphonic
Control - MIDI (16 parts), CV
The 3rd iteration of the Virus series. Where the TI series has HyperSaws, and higher polyphony, this has (according to users) a slightly fatter and heavier low end, making it ideal for basses, and thick pads demanding more low frequency content. It was commonly used in Psytrance between 2002-2005, and you can hear it in the basslines and acid squelches of the genre during that period.
Polyphony - 32 voices
Oscillators - 3 Osc per voice plus 1 Sub-Osc: Sawtooth, variable pulse, sine, triangle, oscillator sync. 5 FM Modes: 64 digital FM spectral waveforms.
LFO - 3 LFOs with 68 waveforms
Filter - 2 independent resonant filters; lowpass, hipass, bandpass, band reject, parallel, split & 2 serial modes with up to 36dB/voice (6-poles), overdrive/saturation.
VCA - 2 ADSTR envelopes
ModMatrix - 6 Sources, 9 Destinations
Effects - 98 simultaneous effects: 16 Phasers, 16 Choruses, 16 Distortions, 16 Ring Modulators, 16 Parametric EQs, Delay, 32-Band Vocoder, Surround Sound.
Memory - 1024 programs (256 User / 768 ROM / 128 Multi)
Control - MIDI (16 multitimbral parts)
When it comes to Trance, Analog Monosynths rarely take center stage. The lack of polyphony, and the tone drift can make using them difficult, and when they have Mono out instead of Stereo out, that makes using them for wide leads nearly impossible.
That said, the Slim Phatty, being compact AND the last synthesizer the founder Bob Moog designed, has that classic, magic Moog sound, and its true analog oscillators and filters make it fantastic for super fat, intense basses with just enough unpredictability to make it endlessly useful for unique, distinctive basses that cut through in a mix and add more character than any sterile vst or sample. Almost no one in the Trance world is using them, either, which gives you an extra reason to pick one up.
Polyphony - Monophonic
Multitimbral - No
Oscillators - 2 VCOs, both 16', 8', 4', 2'
Waveforms - Continuously variable: triangle through saw and square to narrow pulse.
LFO - LFO with triangle, square, sawtooth, ramp
Modulation - Mod Source: LFO, Filt. EGR or Sample and Hold, and Osc. 2 or Noise. Mod Destination: Pitch, Osc. 2, Filter, Wave.
Filter - 1 Low Pass VCF: 24dB/Oct Moog Ladder with overload and ADSR.
Envelope - 1 Volume amp with ASDR
Effects - None
Sequencer - None
Arpeggiator - Up, down, ordered. MIDI-syncable
Keyboard - None
Memory - 100 presets, all can be overwritten by user
Control - MIDI In/Out/Thru; USB; and CV: Pitch CV In (1 V/Oct) Filter CV In Volume CV In Keyboard Gate In
Weight - 5.75 Lbs (2.6 kg)
Another underutilized legend. The XT was Waldorf’s wavetable synth, in a Halloween color scheme (for some reason), and when it came to evolving sounds, cutting leads, and exciting soundscapes, it was king. While not as well-known or used as its cousin the Q, it was an excellent synth, and makes a worthy addition to any studio.
Polyphony - 10 voice (expandable to 30)
Oscillators - 2 oscillators per voice of DSP wavetable synthesis; 1 Ring Mod; 1 Noise Source
Memory - 256 internal patches, 64 external card
Filter - 6/12/24 LP/HP, FM Filter, Sin (x)-LP, Dbl LP/HP, 24/12 BP, Band Stop, Waveshaper
VCA - 1 VCA, VCA ADSR, 1 Free Envelope
LFO - 2 LFO's, sine, tri, square, random, S&H
Effects - Chorus, Flanger 1 & 2, Autowah BP, Autowah LP, Overdrive, Delay, Amp Mod
Keyboard - none
Arpeg/Seq - 16 steps, 128 patterns
Control - MIDI (8-parts)
An icon of Trance, the Nord Lead 2X (and the 2) really stands alone. The unique Nord Sound made it a feature in countless tunes throughout the 90s and early 2000s, featuring in tracks by San Van Doorn and Protonica, and other Nord synths appeared in E-Type’s, Armin van Buuren’s, The Thrillseekers, and numerous other big artist’s songs.
Polyphony - 20 Voices
Oscillators - 2 VSM oscillators: sine, triangle, sawtooth, pulse and noise
LFO - 2 LFO's (triangle, sawtooth, random) control OSC 1 or 2, filter, pulse-width, ADSR envelope
Filter - 12 dB/oct 2-pole lowpass, 24dB/oct 4-pole lowpass / bandpass / highpass (both with cutoff, resonance, env amount, env velocity, key tracking, ADSR envelope)
VCA - ADSR envelope and Amplifier Gain control
Keyboard - 49 keys (velocity sensitive)
Memory - 99 patches (59 preset, 40 user), 99 performances, 10 drum kits
Control - MIDI (4 parts), and all knobs and controls are MIDI
Perhaps one of the rare synths deserving of the title Most Obscure Modern Classic. Well-beloved in sound designer circles, it’s a descendent of the Waldorf Q, Micro Q, XT, and Microwave series (and includes a number of their wavetables and filters), it is easily one of the most versatile synths on the market. What it lacks in user-friendliness and front panel accessibility, it makes up for in creating clean, fat plucks, basses, evolving pads and soundscapes, and gnarly basses. Users can upload their own wavetables into the synth, and with 25 voices of polyphony (not fixed, though), it works well in Trance. And hardly anyone in the Trance world is using it, so it’s perfect for creating sounds no one else is making.
Polyphony - 25 voices maximum (Poly, Mono, Dual or Unison modes)
Multitimbral - 16 parts
Sampler - 44.1kHz mono with 60 Mb RAM
Oscillators - 3 oscillators per voice (128' to 1/2') plus noise, frequency modulation, ring modulation
Waveforms - All Q Oscillator models: sine, saw, triangle, square with PWM; 68 digital 16-bit wavetables from Microwave II/XT/XTK
LFO - 3 LFOs per voice with square, sine, saw, triangle, S&H, random with delay and fade in/out
Modulation - Modulation Matrix with 16 Slots, freely programmable
Filter - 2 independent Multi Mode Filters per voice: Low pass, High pass, Band pass, Notch, Comb; 12 or 24 dB/oct modes
Envelope - 4 Envelopes per voice, ADSR, AD1S1D2S2R, One Shot, Loopable
Effects - 2 Effect units with Chorus, Flanger, Phaser, Overdrive, Decimator, Delay, Reverb
Vocoder - None
Sequencer - None
Arpeggiator - Programmable, 16 steps, Up, Down, Alt Up, Alt Down, Random
Memory - 1,024 sounds, 128 multi sets
Control - MIDI IN (plus OUT on Keyboard), USB
Another piece of Trance history, the Supernova is one of those synths you hear everywhere, but might not immediately recognize. It’s versatile, flexible, and lacks a singular character just enough that when you use it, people in the know won’t groan and go “Guuh, they used a _”. You CAN hear it in tracks by ATB, and Ace Da Brain.
Polyphony - SuperNova: 20 voices, expandable to 32
SuperNova II: 24-, 36-, 48-voice models plus additional 12- or 24-voice expansion boards
Oscillators - 3 (sqaure, saw, variable width pulse) and noise
LFO - 2 with control of VCA, VCF & pitch; saw, square, tri, sample/hold
Filter - Hi/Low/Band pass, 12/18/24 dB/oct ranges, resonant self-oscillating filter with overdrive
Effects - Distortion, reverb, chorus, flange, phaser, delay, pan, tremolo, 2-band EQ, comb filtering
Memory - 512 expandable to 1,024 patches; 256 performances
Control - MIDI (8 parts)
Another classic, that you can’t pass up. It sounds different from other Nords, which you may or may not like, but it has higher polyphony and an expanded oscillator section relative to the others, which makes it even more useful for fat leads and wide pads.
Polyphony - 24 voices
Oscillators - 2 oscillator groups each with Six waveforms: sine, saw, triangle, square (pulse with width modulation), noise, synced noise, dual sine; 2- and 4-op FM and differential FM; osc-sync; ring-modulation; variable unison.
LFO - 2 per voice, syncable to MIDI. Triangle, saw, square, smooth and stepped random, and triple-peak sine waveforms. Seperate vibrato effect.
Filter - 2 multi-mode filters (series or parallel). Lowpass, Bandpass, Highpass, LP-HP, LP-LP and Classic mode. 1-, 2-, or 4-pole.
VCA - ADSR envelopes for amplitude and filter; Amplifier Gain control
Memory - 1,024 patches, 256 performances
Control - MIDI IN/OUT/THRU (4-parts)
Date Produced - 2001
Dawnchaser is a Pacific Northwest-based electronic music producer, mountaineer, documenter of all things adventure, mountain, and travel-related, and manager of Kulshan Recordings. If he’s not in the studio writing music about adventures, he’s out on one.